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Journal articles on the topic 'Italian letters History and criticism'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

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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2

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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3

Lönnroth, Harry. "“Sie sagen skål und Herre gud und arrivederci”: On the Multilingual Correspondence between Ellen Thesleff and Gordon Craig." Journal of Finnish Studies 19, no. 1 (June 1, 2016): 104–20. http://dx.doi.org/10.5406/28315081.19.1.07.

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Abstract The Finnish painter Ellen Thesleff (1869 − 1954) is one of the most famous female painters in Scandinavian art history. During her stay in Florence, Italy, at the beginning of the twentieth century, she became acquainted with the British theater personality and artist (Edward) Gordon Craig (1872 − 1966). Their correspondence from the first half of the century is a part of European cultural history and art criticism; they write, among other things, about painting and graphics, literature and theater. Of linguistic importance is that the original letters preserved for posterity contain traces of many European languages: not only German, which is a central language in the correspondence, but also French, Italian, and English. The focus of this paper is the coexistence of languages in the multilingual correspondence—about 200 dated and 60 undated letters—kept at the National Library of France in Paris. In this paper, microfilms are used instead of the original material, and the selection of letters is limited to twenty-five. The particular interest lies in Ellen Thesleff as a multiliterate, writing individual, and her choices of and switches between different languages. My study shows that Thesleff used a variety of languages when writing letters. This can, for example, be seen from the perspective of the personal nature and the communicative function of the personal letters, where the “self” of the writer is present. In a way, multilingualism has among other things an emotional function for her: one could, for instance, argue that it was used as a kind of “secret writing” or language play between Thesleff and Craig.

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4

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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5

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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6

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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7

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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8

Lambe, Patrick J. "Critics and Skeptics in the Seventeenth-Century Republic of Letters." Harvard Theological Review 81, no. 3 (July 1988): 271–96. http://dx.doi.org/10.1017/s0017816000010105.

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The literature on the history of biblical criticism is voluminous, but remarkably consistent in its postulation of the Reformation and the Enlightenment as the two mainsprings of modern biblical criticism. That this history is written almost exclusively by heirs of the liberal Protestant tradition ought to sound a warning bell, especially since the extremely rare dissenting accounts of biblical criticism come from the Roman Catholic camp.

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9

Wilson, Alexandra. "Music, Letters and National Identity: Reading the 1890s' Italian Music Press." Nineteenth-Century Music Review 7, no. 2 (November 2010): 101–18. http://dx.doi.org/10.1017/s1479409800003621.

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Much ink was spilled on the subject of music infin-de-siècleItaly. With the rapid expansion of the bourgeoisie during the last decades of the nineteenth century, opera-going in Italy was at its apogee, and as opera attendance surged so too did the demand for gossip about singers, titbits about the lives of composers and reviews of the latest works. This was a moment at which the booming Italian opera and journalism industries converged, particularly in the large northern cities, to produce an explosion of periodicals devoted to opera, encompassing a range of critical methods. The 1890s, however, also saw the development in Italy of a new branch of criticism devoted to more ‘serious’ types of music, penned by writers explicitly hostile to opera's domination of Italian musical life, who looked to the north as their cultural spiritual home.

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10

Levitin, Dmitri. "Early Modern Biblical Criticism and the Republic of Letters." Erudition and the Republic of Letters 6, no. 4 (November 30, 2021): 427–64. http://dx.doi.org/10.1163/24055069-06040005.

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11

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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12

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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13

Griffin, Joseph. "LETTERS, BIOGRAPHY AND CRITICISM: JAMES, WHARTON AND ATHERTON." Canadian Review of American Studies 22, no. 3 (December 1991): 479–90. http://dx.doi.org/10.3138/cras-022-03-12.

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14

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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15

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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16

Salonia, Matteo. "A Dissenting Voice: The Clash of Trade and Warfare in Giovanni da Empoli's Account of His Second Voyage to Portuguese Asia." Itinerario 45, no. 2 (July 21, 2021): 189–207. http://dx.doi.org/10.1017/s0165115321000176.

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AbstractGiovanni da Empoli's second voyage to Asia (1510–1514) was eventful and violent, characterised by the emergence of conflicting agendas among different groups of Portuguese. The Florentine merchant's long letter about the voyage is an extraordinary document, and provides insights in three important areas. First, it allows us to fill some of the gaps in the history of the early phases of Portuguese empire building, questioning the extent to which the Crown was pursuing a clear and coherent strategy that included the conquest of Malacca. Second, it problematises further our conception of “the Portuguese” by reporting episodes of Portuguese-on-Portuguese violence and opposing views on the objectives of Portuguese fleets in the Indian Ocean. Finally, Giovanni unequivocally expresses admiration for the international markets of Eastern city-ports and openly criticises the militarist attitude and lawless tactics of the Portuguese viceroy, Alfonso de Albuquerque, thereby inviting us to reconsider the chronology of a “cosmopolitan reaction” among Italian writers visiting South Asia.

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17

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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18

Van Nes, Jermo. "On the Origin of the Pastorals' Authenticity Criticism: A ‘New’ Perspective." New Testament Studies 62, no. 2 (February 29, 2016): 315–20. http://dx.doi.org/10.1017/s002868851500051x.

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It is generally agreed among contemporary scholars that the modern critique of the authorship claim of the New Testament letters addressed to Timothy and Titus originated in early nineteenth-century Germany with the studies of Schmidt and Schleiermacher on 1 Timothy. However, a late eighteenth-century study by the British clergyman Edward Evanson challenges this consensus as it proves Titus to have been suspect of pseudonymity before. This ‘new’ perspective found in Evanson's neglected source also nuances the common assumption that from its very beginnings the critical campaign against the letters' authenticity was mainly driven by linguistic considerations.

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JONES, IVOR H. "Rhetorical Criticism and the Unity of 2 Corinthians: One ‘Epilogue’, or More?" New Testament Studies 54, no. 4 (September 10, 2008): 496–524. http://dx.doi.org/10.1017/s002868850800026x.

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The endings of Pauline letters have been studied as providing clues to the letters' contents. The text of 2 Corinthians is no exception. But what constitutes the ending of that text, and is there more than one letter-ending in it? Rhetorical criticism provides some criteria for attempts to answer those questions, and has sometimes been claimed as providing evidence for the unity of 2 Corinthians. This article reviews that evidence and questions its reliability. The possibility that there may be more than one letter-ending points to a different solution and exposes important features of the text's composition.

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20

Depkat, Volker. "Letters and Diaries as Life Writing." JAAAS: Journal of the Austrian Association for American Studies 1, no. 1 (August 31, 2020): 140–43. http://dx.doi.org/10.47060/jaaas.v1i1.79.

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In lieu of an abstract, here is the first paragraph of this forum contribution: The burgeoning field of life-writing studies constitutes a meeting ground of historiography and literary criticism. Historians and literary critics approach one and the same phenomenon from different disciplinary perspectives and with different epistemological interests. For historians, the texts that literary critics call life writing are personal documents, Selbstzeugnisse, or ego-documents that help pave the way toward understanding the “subjective dimension” of history, i.e., the personality, minds, motivations, emotions, and worldviews of concrete historical actors, who made, experienced, or endured history.[1]

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21

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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Əflatun qızı Pirəliyeva, Elnurə. "History of the development of epistolary style: from the past to the present." SCIENTIFIC WORK 15, no. 2 (March 9, 2021): 107–9. http://dx.doi.org/10.36719/2663-4619/63/107-109.

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The first example of epistolary style in world literature is Horace`s Letter to the Pisons. It has been used in the history of Azerbaijani literature in three genres of epistolary style: verse letter, literary letter and open letter. The first example of a poetic letter is in the works of G. Tabrizi in the 11th century by M.F.Akhundov. We meet withopen letters in Akhundov`s works. Open letter is a genre of literary criticsm, verse letter and literary letter are genres of literary criticism. Key words: criticism, epistolary style, verse letter, literary letter, open letter

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23

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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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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25

McIntyre, John. "The Scots College Rome under Italian Rectors: three student letters." Innes Review 72, no. 2 (November 2021): 177–98. http://dx.doi.org/10.3366/inr.2021.0304.

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Historians of the Scots College in Rome have pictured the period 1773–1798, when the Rectors were Italian secular priests, as a time of student unrest which provided very few priests for work in Scotland. This article, by examining some letters from students of the period to former companions, and evidence in the College Register, suggests a considerably revised picture. The students, although often hostile to their superiors and nostalgic for their ‘ancient happiness’ under Jesuit rule, and convinced that the appointment of a Scottish Rector would solve their problems, are seen to have included some committed young men with a ‘gude conceit of themselves’, concerned for others and for the welfare of their college, and destined to play a larger part than has been previously thought in the work of the Catholic Church in Scotland.

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Gerome, Frank A., G. Symcox, G. Rabitti, and P. D. Diehl. "Italian Reports on America, 1493-1520: Letters, Dispatches, and Papal Bulls." Sixteenth Century Journal 34, no. 1 (April 1, 2003): 176. http://dx.doi.org/10.2307/20061327.

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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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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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Vince, Máté. "Criticism and Confession: The Bible in the Seventeenth Century Republic of Letters, by Nicholas Hardy." English Historical Review 134, no. 568 (April 3, 2019): 706–8. http://dx.doi.org/10.1093/ehr/cez096.

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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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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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Логинов, А. В., and М. А. Щекочихина. "Jurisprudence and the Emergence of the Auxiliary Sciences of History in the 16th-18th Centuries." Диалог со временем, no. 79(79) (August 20, 2022): 38–46. http://dx.doi.org/10.21267/aquilo.2022.79.79.001.

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В статье рассматривается возникновение метода критики источников в Раннее Новое время. Поскольку возникновение критики грамот было вызвано необходимостью определять юридическую подлинность документов, она испытала сильнейшее влияние права. Делается вывод о влиянии норм Corpus Iuris Civilis на дискуссии об определении подлинности документов в трактатах юристов и учёных-эрудитов, занимавшихся определением подлинности грамот как исторических источников. The article focuses on the emergence of the method of historical criticism in the Early Modern Age. Since the emergence of criticism was caused by the need to determine authenticity of documents, it experienced the strongest influence of law. The article concludes about the influence of the Corpus Iuris Civilis norms on the discussions regarding the determination of the authenticity of documents in the treatises of lawyers and scholars, who were specifically engaged in determining the authenticity of letters as historical sources.

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Read, Richard. "ART CRITICISM VERSUS ART HISTORY: THE LETTERS AND WORKS OF ADRIAN STOKES AND E.H. GOMBRICH." Art History 16, no. 4 (December 1993): 499–540. http://dx.doi.org/10.1111/j.1467-8365.1993.tb00544.x.

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Léchot, Pierre-Olivier. "Criticism and Confession. The Bible in the Seventeenth Century Republic of Letters, by Nicholas Hardy." Church History and Religious Culture 101, no. 4 (October 26, 2021): 611–17. http://dx.doi.org/10.1163/18712428-10104009.

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Tokareva, Evgenia. "Italian Catholic Chaplains on the Eastern Front during World War II: Perception of Soviet Reality, Military Realities, and Apostolate in the Territories Occupied by Italy." Novaia i noveishaia istoriia, no. 5 (2022): 153. http://dx.doi.org/10.31857/s013038640020036-7.

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The author focuses on the role of Catholic chaplains accompanying Italian troops on the Eastern Front between 1941 and 1943. It draws on the memoirs, diaries, letters and reports of the chaplains, including direct reports sent by them to the Holy See during the war, which only became available to scholars in March 2020 when the Vatican archives relating to the pontificate of Pius XII (1939–1958) were unsealed. This subject has never been addressed in Russian historiography and has been barely explored in Italian studies. The aim of this article is to analyse the information relayed by chaplains about the territories where the Italian army was deployed, the situation of the local population, including people of different nationalities, the religious situation on the occupied territories, the actions of the armed forces (mainly Italian and German) and the activities of chaplains themselves, including not only the spiritual care of the Italian troops, but also the administration of sacraments and the holding of religious services for the local population. Newly discovered sources make it possible to understand how the chaplains saw life among the local population in the territories occupied by Italian troops, whether the Vatican was aware of the real situation, and to infer what the Vatican tried or intended to do for the apostolic work of the military chaplains in the Soviet Union.

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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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Mortimer, Sarah. "Criticism and Confession. The Bible in the Seventeenth Century Republic of Letters, written by Nicholas Hardy." Grotiana 39, no. 1 (December 18, 2018): 152–54. http://dx.doi.org/10.1163/18760759-03900010.

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Ruberto, Laura E. "Families, lovers, and their letters: Italian Postwar Migration to Canada." Journal of Modern Italian Studies 22, no. 1 (January 2017): 126–28. http://dx.doi.org/10.1080/1354571x.2016.1242283.

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Desideri, Paola, and Mariapia D’Angelo. "The voice of the great war: italian prisoners’ letters collected by Leo Spitzer." Linguistica 58, no. 1 (March 14, 2019): 271–82. http://dx.doi.org/10.4312/linguistica.58.1.271-282.

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From September 1915 until the end of the First World War, the Viennese Romance scholar Leo Spitzer was dispatched to the Censorship section of the Austrian Central Bureau of Information on Prisoners-of-War, where he was in charge of examining the correspondence of the Italian prisoners. In the unusual dual role of censor and philologist, he was the first to collect extensive documentation of popular Italian written texts during a crucial period of Italian linguistic history. The first part of the present paper focuses on the linguistic and communicative properties of the letters included and analyzed in the volume Italienische Kriegsgefangenenbriefe, published by Spitzer in 1921 and translated into Italian in 1976 (Lettere di prigionieri di guerra italiani), whereas the second part deals with stylistic and onomasiological aspects of the circumlocutions expressing hunger, on the basis of Spitzer’s study Die Umschreibungen des Begriffes “Hunger” im Italienischen (1920) and with reference to his work Motiv und Wort (1918).

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Koperski, Marcin. "Listy księdza biskupa Michała Kuziemskiego. Źródła do poznania historii greckokatolickiej diecezji chełmskiej w latach 1868–1871. Część 2." Rocznik Przemyski. Historia 1 (27) (December 29, 2022): 153–72. http://dx.doi.org/10.4467/24497347rph.22.022.16647.

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Letters of Bishop Michał Kuziemski. The sources to discover the history of the Greek Catholic Diocese of Chełm between 1868 and 1871. Part 2 This paper is the second part of the article Letters of Bishop Michał Kuziemski. The sources to discover the history of the Greek Catholic diocese of Chełm previously published in “Rocznik Przemyski. Historia”. It consists of letters translated from Latin and Italian (nos. 16 to 24) published in the book by Fr. Luigi Glinka titled Diocesi ucraino-cattolica di Cholm (Ukrainian Catholic Diocese of Chełm) published in Rome in 1975. It is for the first time that the content of those letters is introduced in Polish historiography.

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GATTO, ROMANO, and LUCIANO CARBONE. "IL CARTEGGIO DEL FONDO SIACCI DELLA BIBLIOTECA DEL DIPARTIMENTO DI MATEMATICA RENATO CACCIOPPOLI: DELL'UNIVERSIT FEDERICO II DI NAPOLI." Nuncius 12, no. 2 (1997): 443–46. http://dx.doi.org/10.1163/182539197x00816.

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Abstracttitle SUMMARY /title We present here the letters of the "Fondo Siacci" which was found recently while reorganising some papers from the old seat of the library at the Department of Mathematics "Renato Caccioppoli" of the University "Federico II" of Naples, in Via Mezzocannone 8. Grancing at these letters we discovered their interest to reconstruct various historical events of italian mathematics life in the 2nd half of the 19th century.

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Enslen, Joshua Alma. "Between diplomacy and letters: a sketch of Manuel de Oliveira Lima's search for a Brazilian identity." História (São Paulo) 24, no. 2 (2005): 243–59. http://dx.doi.org/10.1590/s0101-90742005000200010.

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Manuel de Oliveira Lima as an important diplomat of the First Republic in Brazil reflects on an individual, national, and universal plane the convergence of politics and literature. His writing demonstrates an explicit attempt to construct a national identity that emanates not only between literature and diplomacy, but also between the personal and the historical, as well as, the foreign and the national. This paper analyzes brief examples of his criticism, personal correspondence, and fiction that demonstrate the convergence of these fields.

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Wilcox, Vanda. "‘Weeping tears of blood’: exploring Italian soldiers' emotions in the First World War." Modern Italy 17, no. 2 (May 2012): 171–84. http://dx.doi.org/10.1080/13532944.2012.665290.

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Emotion plays a vital role in any rounded history of warfare, both as an element in morale and as component in understanding the soldier's experience. Theories on the functioning of emotions vary, but an exploration of Italian soldiers' emotions during the First World War highlights both cognitive and cultural elements in the ways emotions were experienced and expressed. Although Italian stereotypes of passivity and resignation dominated contemporary discourse concerning the feelings and reactions of peasant conscripts, letters reveal that Italian soldiers vividly expressed a wide range of intense emotions. Focusing on fear, horror and grief as recurrent themes, this article finds that these emotions were processed and expressed in ways which show similarities to the combatants of other nations but which also display distinctly Italian features. The language and imagery commonly deployed offer insights into the ways in which Italian socio-cultural norms shaped expressions of personal war experience. In letters that drew on both religious imagery and the traditional peasant concerns of land, terrain and basic survival, soldiers expressed their fears of death, isolation, suffering and killing in surprisingly vigorous terms.

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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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BERETTA, MARCO. "PER UN ARCHIVIO DELLA CORRISPONDENZA DEGLI SCIENZIATI ITALIANI." Nuncius 3, no. 1 (1988): 157–61. http://dx.doi.org/10.1163/182539188x00078.

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Abstract<title> SUMMARY </title>Luigi Valentino Brugnatelli (1761-1818), was the first Italian chemist who tried to organize systematically the diffusion of chemical ideas in Italy. And even if his works were theorethically weak, his function as editor and journalist gave a strong impulse to the birth of this science.Therefore an extend study of his unpublished letters and manuscripts should lead to a better comprehension of the Italian scientific organisation after the chemical revolution.

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Bridge, Edward J. "Polite Language in the Lachish Letters." Vetus Testamentum 60, no. 4 (2010): 518–34. http://dx.doi.org/10.1163/156853310x536798.

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AbstractA study of the Lachish letters (ostraca) that goes beyond treating conventional formulae as simply epistolary phenomena or scribal preference shows that such language, along with other forms of language expressed in the letters, reflects a culture of high politeness. However, this culture is not restrictive. The senders also feel free to express their opinion and even criticise the recipient at times, with a corresponding reduction in respectful language. Such adjustment of language use to topic and/or emotion explains the variation in both conventional and other forms of polite language. When compared to biblical narrative and prayer, the letters affirm the biblical portrayal of social relationships. That is, the biblical portrayal of generally high politeness to a social superior or deity yet freedom to express opinion and criticism, along with the reduction in politeness that naturally occurs, with it reflects social reality of the time.

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MESCHIARI, ALBERTO. "CORRISPONDENZA DI GIOVANNI BATTISTA AMICI CON CARLO MATTEUCCI E ANGELO SECCHI*." Nuncius 14, no. 1 (1999): 233–61. http://dx.doi.org/10.1163/182539199x00841.

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Abstracttitle SUMMARY /title We here publish 28 letters from the correspondence of Giovanni Battista Amici, belonging to the Estense Library in Modena, concerning his relationship with two of the greatest Italian scientists of the XIX century: Carlo Matteucci and Angelo Secchi.

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STORNELLI, GIANFRANCA. "Papafeio epistolary corpus as a resource in teaching LSP." International Journal of Language, Translation and Intercultural Communication 4, no. 1 (June 24, 2016): 150. http://dx.doi.org/10.12681/ijltic.10349.

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<p class="Abstract">The paper is about the challenge of approaching the teaching of economic and cultural (Italian) issues through a nineteenthcentury resource. What could be a reliable material to build the intercultural bridge necessary to a translator, specialized in economics and history? Papafeio Archive and its epistolary Italian corpus can be useful under various respects. The letters are very interesting to the modern reader, since they show a cultural cross section of the nineteenth century Maltese, and generally Mediterranean, society. At first sight this conspicuous (598 letters) material could be considered obsolete, but in fact it is both productive and reliable in order to teach LSP. There are at least three main reasons for that. 1) The language itself: Italian and, more precisely, Italian language in the Mediterranean basin, that is Southern Italy and Malta, during nineteenth century. 2) Cultural models: they are stronger in epistolary corpora. 3) Specialized language: Papafis himself was a broker, and his letters often deal with business transactions in a strongly connoted cultural context. The paper shows how what we consider obsolete material can cover the cultural gap contained in an economic/historic text. Moreover it demonstrates the necessity for a deep intralinguistic intertemporal perception and knowledge of the Italian language cultural system as a primary instrument for the mediation process that a (Greek) translator should provide.</p><p class="Abstract"> </p>

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Equestri, Alice. "Writers and readers in early modern Italianate verse narratives." Cahiers Élisabéthains: A Journal of English Renaissance Studies 97, no. 1 (August 6, 2018): 20–38. http://dx.doi.org/10.1177/0184767818788881.

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The article considers some examples from the often overlooked genre of Elizabethan verse translations of Italian novellas, concentrating in particular on the poems where the flow of the narration is interrupted by interpolated speeches, namely letters. I consider how epistolary correspondence in these stories often brings about violent outcomes, how the rhetoric of letters can complicate the reader’s interpretation and how the poets describe the material actions of writing and reading. Paratextual epistolary material is also analysed to determine the authors’ purpose.

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TOSCANO, ANNA. "CATALOGO DELLE CARTE DI GIORGIO BAGLIVI CONSERVATE NELLA WALLER SAMLING PRESSO UNIVERSITETSBIBLIOTEKET «CAROLINA REDIVIVA» DI UPPSALA." Nuncius 9, no. 2 (1994): 683–738. http://dx.doi.org/10.1163/182539184x01026.

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Abstract<title> SUMMARY </title>A Catalogue of Giorgio Baglivi Papers, kept in the Waller Samling at the Universitetsbibliotek of Uppsala, is published here for the first time.Together with a complete list of the letters, a short sketch of their contents is given in the Appendix.The Baglivi Correspondence kept in Sweden gives new information about the scientific Italian culture in the second half of the seventeenth century. Moreover, it provides with some further evidence of the diffusion of the Italian science in the scientific European context at that age.

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