Academic literature on the topic 'Narrative art, Italian Australia'
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Journal articles on the topic "Narrative art, Italian Australia"
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Nosi, Costanza, Alberto Mattiacci, and Fabiola Sfodera. "Online wine ecosystem: the digital narrative of Sangiovese." British Food Journal 121, no. 11 (October 24, 2019): 2683–95. http://dx.doi.org/10.1108/bfj-05-2019-0379.
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Purpose The purpose of this paper is to investigate how grape varieties are narrated online by non-winery-owned sources in four countries: Australia, Canada the UK and the USA. This study focuses on Sangiovese, the most important varietal of Italy. Design/methodology/approach Texts collected on the Internet underwent a software-assisted semantic clustering procedure based on text-mining techniques. Identified clusters were then qualitatively analyzed by content. Findings The digital narrative on Sangiovese is mainly technical and conveyed by adopting a professional slant that is suitable for knowledgeable consumers but less effective for common and unexperienced wine drinkers. Online information is concentrated in few websites that act as information gatekeepers. Research limitations/implications The study contributes to the wine-related managerial literature on grape varieties, which are considered one of the most powerful factors in addressing consumer wine choice. Additionally, the investigation sheds light on the online wine ecosystem, by providing insights on how information is provided and the contents that are conveyed on the Internet. The findings of this study may be useful for Italian operators willing to promote Sangiovese-based wines in foreign markets. Originality/value Though explorative in nature, this study represents one of the first attempts to investigate the online narrative of grape varieties by presenting a marketing perspective and examining the characteristics of non-winery-owned online information which may shape wine consumers’ behavior.
2
Blom, Ivo. "Of Artists and Models. Italian Silent Cinema between Narrative Convention and Artistic Practice." Acta Universitatis Sapientiae, Film and Media Studies 7, no. 1 (November 1, 2013): 97–110. http://dx.doi.org/10.2478/ausfm-2014-0017.
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Abstract The paper presents the author’s research on the representation of painters and sculptors, their models and their art works in Italian silent cinema of the 1910s and early 1920s. This research deals with both the combination of optical (painterly) vs. haptical (sculptural) cinema. It also problematizes art versus the real, as well as art conceived from cinema’s own perspective, that is within the conventions of European and American cinema. In addition to research in these filmic conventions the author compares how the theme manifests itself within different genres, such as comedy, crime and adventure films, diva films and strong men films. Examples are : Il trionfo della forza (The Triumph of Strength, 1913), La signora Fricot è gelosa (Madam Fricot is Jelous, 1913), Il fuoco (The Fire, Giovanni Pastrone, 1915), Il fauno (The Faun, Febo Mari, 1917), Il processo Clemenceau (The Clemenceau Affair, Alfredo De Antoni, 1917) and L’atleta fantasma (The Ghost Athlete, Raimondo Scotti, 1919). I will relate this pioneering study to recent studies on the representation of art and artists in Hollywood cinema, such as Katharina Sykora’s As You Desire me. Das Bildnis im Film (2003), Susan Felleman’s Art in the Cinematic Imagination (2006) and Steven Jacobs’s Framing Pictures. Film and the Visual Arts (2011), and older studies by Thomas Elsaesser, Angela Dalle Vacche, Felleman and the author.
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Wilczyńska, Elżbieta. "The Return of the Silenced: Aboriginal Art as a Flagship of New Australian Identity." Australia, no. 28/3 (January 15, 2019): 71–84. http://dx.doi.org/10.7311/0860-5734.28.3.07.
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The paper examines the presence of Aboriginal art, its contact with colonial and federation Australian art to prove that silencing of this art from the official identity narrative and art histories also served elimination of Aboriginal people from national and identity discourse. It posits then that the recently observed acceptance and popularity as well as incorporation of Aboriginal art into the national Australian art and art histories of Australian art may be interpreted as a sign of indigenizing state nationalism and multicultural national identity of Australia in compliance with the definition of identity according to Anthony B. Smith.
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Johnston, Andrew James. "Chaucer‘s Postcolonial Renaissance." Bulletin of the John Rylands Library 91, no. 2 (September 2015): 5–20. http://dx.doi.org/10.7227/bjrl.91.2.1.
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This article investigates how Chaucer‘s Knight‘s and Squire‘s tales critically engage with the Orientalist strategies buttressing contemporary Italian humanist discussions of visual art. Framed by references to crusading, the two tales enter into a dialogue focusing, in particular, on the relations between the classical, the scientific and the Oriental in trecento Italian discourses on painting and optics, discourses that are alluded to in the description of Theseus Theatre and the events that happen there. The Squire‘s Tale exhibits what one might call a strategic Orientalism designed to draw attention to the Orientalism implicit in his fathers narrative, a narrative that, for all its painstaking classicism, displays both remarkably Italianate and Orientalist features. Read in tandem, the two tales present a shrewd commentary on the exclusionary strategies inherent in the construction of new cultural identities, arguably making Chaucer the first postcolonial critic of the Renaissance.
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Haughton, Ann, and Ann Haughton. "Myths of Male Same-Sex Love in the Art of the Italian Renaissance." Exchanges: The Interdisciplinary Research Journal 3, no. 1 (September 17, 2015): 65–95. http://dx.doi.org/10.31273/eirj.v3i1.126.
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Visual culture has much to contribute to an understanding of the history of sexuality. Yet, to date, the depiction of pederasty in the art of the Renaissance has not been covered adequately by dominant theoretical paradigms. Moreover, the interpretive approach of traditional art historical discourse has been both limited and limiting in its timidity toward matters concerning the representation of sexual proclivity between males. This article will address the ways in which Italian Renaissance artistic depictions of some mythological narratives were enmeshed with the period’s attitudes toward sexual and social relationships between men.Particular attention is paid here to the manner in which, under the veneer of a mythological narrative, certain works of art embodied a complex set of messages that encoded issues of masculine behaviour and performance in the context of intergenerational same-sex erotic relationships. The primary case studies under investigation for these concerns of gender and sexuality in this particular context are Benvenuto Cellini’s marble Apollo and Hyacinth (1545), and Giulio Romano’s drawing of Apollo and Cyparissus (1524). By incorporating pictorial analysis, social history, and gender and sexuality studies, new possibilities will be offered for evaluating these artworks as visual chronicles of particular sexual and cultural mores of the period. Furthermore, this article will consider how visual representation of these mythic narratives of erotic behaviour between males conformed to the culturally defined sexual and social roles relating to the articulation of power that permeated one of the greatest milestones in art history.
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Gammelgaard, Lasse Raaby. "Torquato Tasso på (kryds og) tværs." K&K - Kultur og Klasse 47, no. 127 (June 11, 2019): 131–52. http://dx.doi.org/10.7146/kok.v47i127.114747.
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The article contributes to research into the topos of furor poeticus or poetic madness and its prominence during the romantic period. In particular, it compares how the life story of the mad Italian poet from the Renaissance, Torquato Tasso, was represented in fictionalized versions across media and art forms. Romantic versions of Tasso’s life in drama (Wolfgang Goethe and B. S. Ingemann), poetry (Lord Byron), painting (Eugène Delacroix) and instrumental music (Franz Liszt) are analyzed with the aim of highlighting which aspects of Tasso’s life are portrayed, how the affordances of the medium affect the depiction and how intermedial references and transpositions are in play. In addition to intermediality theory, the transmedial narratology of Werner Wolf is introduced and employed to compare to what degree the different media and art forms can convey prototypical aspects of narrativity. Moving from the most prototypical to the least prototypical narrative genre, the article finds that the more representations of Tasso focus on his time spent in a madhouse, the more the narrative stresses experientiality at the expense of investment in plot development. The affordances of strong narrative media and strong and weak narrative-inducing media may highlight different aspects of the experientiality of furor poeticus, but in all cases the representation of Tasso is performed in an innovative romantic style.
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Fadeyeva, Liudmila V. "VOTIVE PAINTING AS A NARRATIVE ABOUT A MIRACLE." Folklore: structure, typology, semiotics 5, no. 1 (2022): 104–25. http://dx.doi.org/10.28995/2658-5294-2022-5-1-104-125.
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The article deals with votive paintings of the Alpine region. These attractive works of folk art (and the religious culture of the Catholic South of Europe as well) are observed from the point of view of their functional aims as testimonies of a miracle that happened in human life. Votive paintings are interesting first of all as visualized stories, therefore it’s worthy of representing the perspective of the comparison between their narrative strategies and the narrative strategy of folklore legends. The author notes that the inclusion of a special inscription in the first person is optional for the picture. Moreover, Italian masters often use only formal inscriptions; they try to translate their customer’s stories into a drawing completely. However, the examination of some examples which show a parallel transmission of the event via words and images demonstrates remarkable differences in narrative strategies. It is significant that the visualization of a miracle as a divine intervention into the circumstances of a person’s life is mostly a result of the traditional iconography scheme followed by the painter; while the words of the person participating in the event are primarily focused on the reality and tiny details of what happened.
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Lepratto, Livio. "From vernacular art to the auteur moment: Tonino Guerra as a poet, writer and scriptwriter in the 1940s and 1950s." Journal of Italian Cinema & Media Studies 11, no. 1 (January 1, 2023): 25–40. http://dx.doi.org/10.1386/jicms_00155_1.
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This article will investigate aspects of a little studied but key figure in Italian cinema, Tonino Guerra, focusing on his debut as a film screenwriter. The article employs a comparative approach, relating the first poetic and narrative works of Guerra of the 1940s to his first steps as a film scriptwriter of the 1950s, with his fruitful collaborations with directors such as Aglauco Casadio, Giuseppe De Santis and Michelangelo Antonioni. I rely on unpublished materials such as Guerra’s private writings and correspondence (in particular, with his friend and future colleague Federico Fellini) and then analyse the critical reception of the first cinematographic works of Guerra by film magazines active in the 1950s. My readings and analyses will be directed towards establishing the importance of Guerra in post-war Italian society and culture, particularly as he gravitated towards work in the cinema, and the role of that work in the complex transition from neorealism to auteur cinema.
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Porr, Martin. "Country and Relational Ontology in the Kimberley, Northwest Australia: Implications for Understanding and Representing Archaeological Evidence." Cambridge Archaeological Journal 28, no. 3 (April 10, 2018): 395–409. http://dx.doi.org/10.1017/s0959774318000185.
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The Aboriginal cultural traditions of Australia, their histories, philosophies and characteristics, have fascinated and intrigued European observers and scholars for a very long time. This paper explores some implications of recent ethnographic information and engagements related to the themes of Indigenous rock art, knowledge and the understanding of Country in the Kimberley region, Western Australia, for the interpretation of archaeological evidence. It is argued that the Aboriginal understanding of cultural features and practices, rock art and the natural environment is best described within a framework of relational ontology. This orientation has important consequences for the conceptualization of a range of interrelated key themes, most importantly ‘space and place’, ‘story and narrative’ and ‘knowledge and representation’. Thus, the paper calls for the development of opportunities of intellectual engagement and exchange as well as collaborative and creative responses, which should also include new forms of expression in academic contexts that themselves reflexively engage with the limitations of writing and representation.
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Mather, Christine C. "The Political Afterlife of Eleonora Duse." Theatre Survey 45, no. 1 (May 2004): 41–59. http://dx.doi.org/10.1017/s0040557404000043.
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Eleonora Duse (1858–1924), international star, national treasure, and patriotic Italian died in Pittsburgh in April 1924. Those involved in the memorializing process contended for control of her body, attempting to interpolate her renown in competing narratives of national pride and the universality of art. Duse died at a turning point for Italy, the year Mussolini's Fascists became the majority party. For Mussolini and the Fascists, Duse's death became the occasion for a pageant of Italian pride through a series of carefully orchestrated ceremonies. At the same time, the theatre community tried to establish an artistic narrative more akin to the ideals Duse expressed in life. In the end, nationalist motifs dominated the memorial discourse. Duse's own assertions of the importance of spirit over corporeality became an ironic footnote to a story in which the actress's body stood in for the nation.
Dissertations / Theses on the topic "Narrative art, Italian Australia"
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au, Casella2@westnet com, and Antonio Casella. "An Olive Branch for Sante (A novel) ; and The Italian Diaspora in Australia and Representations of Italy and Italians in Australian Narrative." Murdoch University, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20070427.120048.
Full textAbstract:
This PhD presentation comprises two pieces of work:
I
The Italian Diaspora in Australia and Representations of Italy and Italians in Australian Narrative ( Research thesis)
II
An Olive Branch for Sante (A novel)
.
In the Introduction of my research titled: Diaspora: A Theoretical Review, I look at the evolution of diasporic Studies and how the great movements of people that have occurred in the past one hundred and fifty years have altered our perception of what is undoubtedly a global phenomenon.
In Chapter One, which I have titled: In Search of an Italian Diaspora in Australia, I consider the kinds of socio-cultural nuclei that have evolved among the Italian population of Australia, out of the mass migration which occurred largely in the post war years. I discuss Italian migration as a whole, the historical and political conditions which brought about mass migration and the subsequent dispersion of Italian nationals, their regrouping into various clusters and how these fit into the patchwork that is the contemporary Australian society. Finally I review the conditions in the host country which facilitated or hindered particular socio-cultural formations and how these may differ from those occurring in other countries
Chapter Two deals with, The Narrative of Non-Italian Writers. The chapter looks at the images and myths of Italy perpetrated in the literature written by English-speaking authors over the centuries. I begin with the legacy left by British writers such as E.M. Forster, then move on to Australian writers of non-Italian background, such as Judah Waten, Nino Culotta (John O' Grady) and Helen Garner. In Chapter Three: Italo-Australian Writers, I focus on two writers: Venero Armanno and Melina Marchetta, both born in Australia of Italian parents. This section ties in with the earlier discourse on the continuity of the Italian Diaspora in Australia, into the second and subsequent generations.
In Chapter Four, titled: Literature of Nostalgia: The Long Journey, I will reflect upon my own journey as a writer, beginning with my earlier work, including the short stories and the plays, and concluding with a close look at the present novel, which is a companion piece to the research.
The novel complements the research in that it deals with the eternal issues of migration: displacement, change and identity. The protagonists are two young people: Ira-Jane and Sante. The first is not a migrant, but she is touched by migration, insofar as an old Italian couple play grandparents to her, in the early years of her life. When they return to Sicily the child is left with her neglectful and unstable mother. At age twenty-four Ira-Jane goes to Sicily on an assignment, and there she tries to get in touch with her 'grandparents'. She meets up with eighteen-year-old Sante who turns out to be her half brother. The novel's structure juxtaposes two countries, two cultures, two way of looking at the world. It sets up a series of contrasts: the old society and the new, past and present, tradition and innovation, stability and change, repression and freedom. The end of the novel proposes a symbolic bridging between two countries, which are similar in some ways, very different in others. It offers not a solution but a different approach to the eternal dilemma of people living in a diaspora, inhabiting an indefinite space between two countries and for whom home will always be somewhere else.
2
Leeker, Laura. "Narrative and Experimentation in Fourteenth-Century Italian Chapter Houses." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587636941131244.
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Casella, Antonio. "An olive branch for Sante (a novel) ; and, The Italian diaspora in Australia and representations of Italy and Italians in Australian narrative." Thesis, Casella, Antonio (2006) An olive branch for Sante (a novel) ; and, The Italian diaspora in Australia and representations of Italy and Italians in Australian narrative. PhD thesis, Murdoch University, 2006. https://researchrepository.murdoch.edu.au/id/eprint/507/.
Full textAbstract:
This PhD presentation comprises two pieces of work:
I
The Italian Diaspora in Australia and Representations of Italy and Italians in Australian Narrative (Research thesis)
II
An Olive Branch for Sante (A novel)
...................
In the Introduction of my research titled: Diaspora: A Theoretical Review, I look at the evolution of diasporic Studies and how the great movements of people that have occurred in the past one hundred and fifty years have altered our perception of what is undoubtedly a global phenomenon.
In Chapter One, which I have titled: In Search of an Italian Diaspora in Australia, I consider the kinds of socio-cultural nuclei that have evolved among the Italian population of Australia, out of the mass migration which occurred largely in the post war years. I discuss Italian migration as a whole, the historical and political conditions which brought about mass migration and the subsequent dispersion of Italian nationals, their regrouping into various clusters and how these fit into the patchwork that is the contemporary Australian society. Finally I review the conditions in the host country which facilitated or hindered particular socio-cultural formations and how these may differ from those occurring in other countries.
Chapter Two deals with, The Narrative of Non-Italian Writers. The chapter looks at the images and myths of Italy perpetrated in the literature written by English-speaking authors over the centuries. I begin with the legacy left by British writers such as E.M. Forster, then move on to Australian writers of non-Italian background, such as Judah Waten, Nino Culotta (John O' Grady) and Helen Garner. In Chapter Three: Italo-Australian Writers, I focus on two writers: Venero Armanno and Melina Marchetta, both born in Australia of Italian parents. This section ties in with the earlier discourse on the continuity of the Italian Diaspora in Australia, into the second and subsequent generations.
In Chapter Four, titled: Literature of Nostalgia: The Long Journey, I will reflect upon my own journey as a writer, beginning with my earlier work, including the short stories and the plays, and concluding with a close look at the present novel, which is a companion piece to the research.
The novel complements the research in that it deals with the eternal issues of migration: displacement, change and identity. The protagonists are two young people: Ira-Jane and Sante. The first is not a migrant, but she is touched by migration, insofar as an old Italian couple play grandparents to her, in the early years of her life. When they return to Sicily the child is left with her neglectful and unstable mother. At age twenty-four Ira-Jane goes to Sicily on an assignment, and there she tries to get in touch with her 'grandparents'. She meets up with eighteen-year-old Sante who turns out to be her half brother. The novel's structure juxtaposes two countries, two cultures, two way of looking at the world. It sets up a series of contrasts: the old society and the new, past and present, tradition and innovation, stability and change, repression and freedom. The end of the novel proposes a symbolic bridging between two countries, which are similar in some ways, very different in others. It offers not a solution but a different approach to the eternal dilemma of people living in a diaspora, inhabiting an indefinite space between two countries and for whom home will always be somewhere else.
4
Casella, Antonio. "An olive branch for Sante (a novel) ; and, The Italian diaspora in Australia and representations of Italy and Italians in Australian narrative." Casella, Antonio (2006) An olive branch for Sante (a novel) ; and, The Italian diaspora in Australia and representations of Italy and Italians in Australian narrative. PhD thesis, Murdoch University, 2006. http://researchrepository.murdoch.edu.au/507/.
Full textAbstract:
This PhD presentation comprises two pieces of work:
I
The Italian Diaspora in Australia and Representations of Italy and Italians in Australian Narrative (Research thesis)
II
An Olive Branch for Sante (A novel)
...................
In the Introduction of my research titled: Diaspora: A Theoretical Review, I look at the evolution of diasporic Studies and how the great movements of people that have occurred in the past one hundred and fifty years have altered our perception of what is undoubtedly a global phenomenon.
In Chapter One, which I have titled: In Search of an Italian Diaspora in Australia, I consider the kinds of socio-cultural nuclei that have evolved among the Italian population of Australia, out of the mass migration which occurred largely in the post war years. I discuss Italian migration as a whole, the historical and political conditions which brought about mass migration and the subsequent dispersion of Italian nationals, their regrouping into various clusters and how these fit into the patchwork that is the contemporary Australian society. Finally I review the conditions in the host country which facilitated or hindered particular socio-cultural formations and how these may differ from those occurring in other countries.
Chapter Two deals with, The Narrative of Non-Italian Writers. The chapter looks at the images and myths of Italy perpetrated in the literature written by English-speaking authors over the centuries. I begin with the legacy left by British writers such as E.M. Forster, then move on to Australian writers of non-Italian background, such as Judah Waten, Nino Culotta (John O' Grady) and Helen Garner. In Chapter Three: Italo-Australian Writers, I focus on two writers: Venero Armanno and Melina Marchetta, both born in Australia of Italian parents. This section ties in with the earlier discourse on the continuity of the Italian Diaspora in Australia, into the second and subsequent generations.
In Chapter Four, titled: Literature of Nostalgia: The Long Journey, I will reflect upon my own journey as a writer, beginning with my earlier work, including the short stories and the plays, and concluding with a close look at the present novel, which is a companion piece to the research.
The novel complements the research in that it deals with the eternal issues of migration: displacement, change and identity. The protagonists are two young people: Ira-Jane and Sante. The first is not a migrant, but she is touched by migration, insofar as an old Italian couple play grandparents to her, in the early years of her life. When they return to Sicily the child is left with her neglectful and unstable mother. At age twenty-four Ira-Jane goes to Sicily on an assignment, and there she tries to get in touch with her 'grandparents'. She meets up with eighteen-year-old Sante who turns out to be her half brother. The novel's structure juxtaposes two countries, two cultures, two way of looking at the world. It sets up a series of contrasts: the old society and the new, past and present, tradition and innovation, stability and change, repression and freedom. The end of the novel proposes a symbolic bridging between two countries, which are similar in some ways, very different in others. It offers not a solution but a different approach to the eternal dilemma of people living in a diaspora, inhabiting an indefinite space between two countries and for whom home will always be somewhere else.
5
Kagan, Michal Lali. "Wonderer : the life of Bruce Chatwin." Thesis, Queensland University of Technology, 2002.
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Wonderer is a screenplay about the life of writer/traveler Bruce Chatwin. The screenplay examines not only Chatwin's travels and writing, but also the landscape which he never
fully explored: his inner-world. This reflective analysis will focus on the relationship between Bruce Chatwin's writing - especially in The Songlines- and the ways in which the book's subject matter and style influenced the choices in content and form which I made in writing Wonderer.
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CAMPAN, SPERANTA LETITIA. "Il genere adolescenziale nel cinema: dal modello hollywoodiano alla risposta nel cinema italiano contemporaneo." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1530.
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Gli studi sull’adolescenza, sotto varie prospettive, si sono moltiplicati negli ltimi 50 anni a ritmo quasi esponenziale. Le ricerche antropologiche, la psico-pedagogia, la psichiatria clinica e psicodinamica, la genetica, le neuroscienze, la sociologia, le audience studies, celebrity studies e marketing, gli studiosi di ricostruire l’identikit dell’adolescente che spesso assume tratti contraddittori. A partire dagli anni ’50 la cinematografia coglie e valorizza le tendenze della cultura adolescenziale proponendo un set variato di produzioni riconducibili al genere teen movie. Il lavoro presente si propone di esplorare le adolescenze e gli adolescenti della contemporaneità, così come esse vengono raccontante nel genere cinematografico del teen movie hollywoodiano e della sua risposta nell’ambito produttivo italiano.In the last 50 years the number of studies on adolescence and teenagers has been growing exponentially. From different perspectives and in many fields of research, from anthropology to neurology, from genetics to sociology, marketing and cultural studies, scholars try to trace the identikit of the contemporary teenager. Since the early 50's cinematography captures and highlights trends in teen culture, proposing a set of varied productions belonging to the teen movie genre. The present work aims to explore the contemporary adolescences and teens, the way teen films of Hollywood and the new Italian teen movies reflect them through a narratological lens.
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Lynch, Peter Francis. "Patriarchy and narrative the Borgherini chamber decorations /." 1992. http://catalog.hathitrust.org/api/volumes/oclc/32513254.html.
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Taylor, C. J. "Collapsible Time: Contesting Reality, Narrative And History In South Australian Liminal Hinterlands." Phd thesis, 2017. http://hdl.handle.net/1885/131791.
Full textAbstract:
My practice-led project explores the indexical lamination of memory, history, narrative and reality afforded by photography imbued with the illusion of spatial dimensionality. This thesis investigates the notion that far from freezing a ‘slice of time’ photography reanimates perception through sensation rendering duration flexible and elastic. Using the liminal landscape of South Australia as time’s stage, I contend that time is ‘collapsible’, constantly unfolding and repeating. In embracing this temporal flow, I submit that photomedia becomes our most compelling connection to time itself, as lived experience. It is this connection that can act as an ethical agent of change for the betterment of the landscape in which we live. The project includes work created in South Australia, the ACT, the United States and the Outer Hebrides and Shetland Islands of Scotland. It includes artefacts photographed in the Adelaide Civic Collection, The South Australian Museum and the National Museum of Australia.
Books on the topic "Narrative art, Italian Australia"
1
Prinz, Wolfram. Die Storia oder die Kunst des Erzählens in der italienischen Malerei und Plastik des späten Mittelalters und der Frührenaissance, 1260-1460. Mainz: P. von Zabern, 2000.
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2
Peruta, Franco Della. Risorgimento: Mito e realtà. Milano: Electa, 1992.
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3
Story and space in Renaissance art: The rebirth of continuous narrative. Cambridge [England]: Cambridge University Press, 1995.
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4
Le immagini e il tempo: Narrazione visiva, storia e allegoria tra Cinquecento e Seicento. Pisa: Edizioni della Normale, 2007.
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Giovanna, Capitelli, and Mazzarelli Carla, eds. La pittura di storia in Italia: 1785-1870, ricerche, quesiti, proposte. Cinisello Balsamo (Milano): Silvana, 2008.
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Gargiulo, Domenico. Micco Spadaro: Napoli ai tempi di Masaniello. [Naples]: Electa Napoli, 2002.
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Figura e racconto: Narrazione letteraria e narrazione figurativa in Italia dall'antichità al primo Rinascimento. Firenze: SISMEL edizioni del Galluzzo, 2009.
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8
Venetian narrative painting in the age of Carpaccio. New Haven: Yale University Press, 1988.
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Brown, Patricia Fortini. Venetian narrative painting in the age of Carpaccio. New Haven, Conn: Yale U.P., 1990.
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Approaching sacred pregnancy: The cult of the Visitation and narrative altarpieces in late fifteenth-century Florence. Helsinki: Suomalaisen Kirjallisuuden Seura, 2007.
Find full textBook chapters on the topic "Narrative art, Italian Australia"
1
Čale, Morana. "Mediazioni e contaminazioni del modello dantesco nelle Montagne di Petar Zoranić (1508-1569?)." In Biblioteca di Studi di Filologia Moderna, 61–79. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/979-12-2150-003-5.04.
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The present paper is dedicated to 16th-century Croatian author Petar Zoranić’s (Zadar / Zara, 1508 – 1569?) direct and mediated echoing of Dante’s oeuvre. Zoranić’s pastoral novel Planine (Mountains) belongs to the consistent tradition of reuse, quotation and translation that the Italian poet’s legacy has enjoyed in Croatia from the 14th century to the present day. Building on the work of the humanist writer Marko Marulić (Marcus Marulus Spalatensis, Split / Spalato, 1450-1524), who aspired to do for the Croatian vernacular what Dante did for the Italian volgare, Zoranić adapted Dante’s example to his own purposes not only in the promotion of the Croatian language and literature, but also in the celebration of the beauty, history and cultural heritage of his homeland. A true connoisseur of Dante’s original, the author from Zadar was also competent in the art of appropriation and creative reemployment of the Commedia’s various aspects, an exercise inaugurated by Boccaccio, and practiced by 15th and 16th-century men and women of letters. My contribution will focus on the modalities through which the text of Planine transforms the materials derived from Dante by mixing them with elements from other prestigious literary sources, in their turn heirs or precursors of Dante, such as works by Virgil, Ovid, the Church doctors, the Roman de la rose, Petrarch’s Trionfi, the Decameron and the early narrative production by Boccaccio, Arcadia by Sannazaro and, according to my hypothesis, the Hypnerotomachia Poliphili (Polifilo’s Dream) by Francesco Colonna.
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Maestri, Eliana. "Visualizing Spatialization at a Crossroads between Translation and Mobility: Italian Australian Artist Jon Cattapan’s Cityscapes." In Transcultural Italies, 179–206. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622553.003.0008.
Full textAbstract:
Maestri looks at how Italian experiences of migration to Australia inform artistic practices and, at the same time, how Italian Australian artworks visually translate mobility and migrant routes across the world. She focuses on the artistic career and productions of Melbourne-based second-generation migrant Jon Cattapan. Her analysis shows how his visual artwork can be read as a diasporic narrative and optical reflection on the added value provided by migration to the physiognomy and morphology of the city’s linguistic landscape. It asks how his art displays imaginary journeys across generations, ethnicities, and boundaries, and how it translates discourses of mobility and movement. The chapter aims to respond to the need to study constructions of Italianness in the face of constant reshaping of transcultural spaces and multimodal connections.
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Drogin, David J. "The Body, Space, and Narrative in Central and Northern Italian Sculpture." In The Art of Sculpture in Fifteenth-Century Italy, 155–84. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108579322.011.
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O'Neill, Michael. "Narrative and Play." In Shelleyan Reimaginings and Influence, 158–73. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198833697.003.0009.
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‘Narrative and Play’ continues to evaluate Byron and Shelley’s relationship with an eye to discussing how both poets employ narrative form in ways that create allow a constant cycle of renewal. The chapter examines how both poets explore the justification of art as well as the limits of art. It identifies the deftness with which Byron, in his narrative poems, ‘enthrals and challenges the reader’ by creating characters and circumstances that challenge ethical clarity. His characters are divided against themselves; they often act by reacting rather than drive the narration with a sense of purpose. Shelley’s narrative poem, however, offers ‘something close to virtuosic poetic display’. For all the Romantic emphasis on the ideal, both poets also recognize and place value on what is real. They seek for truth through the imagination, and this chapter examines how each poet does so. The chapter also traces each poet’s capacity for balancing and blending contraries. It includes examination of poetic form in both poems, in this case ottava rima, and the ways in which both poets employ the Italian form. The chapter concludes with a final summing-up of the differing ways in which Shelley and Byron employ narrative form. Byron takes advantage of the infinite possibility in self-multiplying tales and of digression and narratorial presence. Shelley focuses less on the story itself, and more on the compulsion to create stories, which reflects, ultimately, the compulsion to create. Finally, the chapter points out the importance of Byron and Shelley’s poetic works and experiments in narrative form as precursors to postmodernist experimentation.
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Samuelian, Kristin Flieger. "The Politics and Aesthetics of Extraction: Cultural Interventions in Blackwood’s and the Imperial." In Romantic Periodicals in the Twenty-First Century, 207–26. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474448123.003.0011.
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This chapter contrasts how two late-Romantic periodicals, Blackwood’s and the evangelical Imperial Magazine, extracted and repurposed material from other sources. It focuses first on J. H. Merivale’s 1819 Blackwood’s articles that translates strategic excerpts from Giuseppe Ballardini’s 1608 Italian miscellany, Prato fiorito. These translations suggest that superstition and religious enthusiasm are fundamental components of European Catholicism. o the Catholic cultures of the Continent. In so doing, they illustrate how a discourse composed of extracts can be simultaneously fragmentary and coherent and how extraction can be a practice of both assemblage and disarticulation. Soon thereafter, the Imperial would follow suit, intermixing extracts from older devotional works with contemporary missionary narratives. Because the focus of the travel writing is often the newest worlds of Australia and New Zealand, the Imperial specifically locates evangelicalism within a project of Tory imperialism.
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Isaacs, Bruce. "Hitchcock’s Interlocutors." In The Art of Pure Cinema, 41–58. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190889951.003.0003.
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Pure cinema is read as an aesthetic philosophy and stylistic practice that synthesizes an art cinema sensibility and a mainstream studio aesthetic design Hitchcock observed and further developed in his American films. Pure cinema thus incorporates both the radical self-awareness of the European auteur cinema and the generic narrative and image form of the American studio system. This synthetic style is then situated within a larger historical narrative that incorporates B-grade cinema traditions and styles (the Italian giallo cinema of Mario Bava and Dario Argento) and Brian De Palma’s self-conscious reconstruction of the B-grade thriller form. The chapter argues that the pure cinema ethos of these films and their filmmakers makes explicit a “visual vernacular” in mise en scène and montage construction that is then traced through Brian De Palma’s formal visual experimentation in Carlito’s Way.
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Isaacs, Bruce. "Intensified Schematics." In The Art of Pure Cinema, 108–26. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190889951.003.0006.
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The affect of the fragmented frame is intensified within the visual and aural mechanics of the Italian giallo. Line, pattern, color, and movement are intensified within a regime of the fragmented image that builds within the complex of visual, aural, and narrative form. The frame is a discretized set of shapes overwhelming the representational image of the diegesis, and is revealed in a number of giallo films, including Bava’s A Bay of Blood, Blood and Black Lace, and Lisa and the Devil and Argento’s The Bird with the Crystal Plumage. The fragmented frame is interrogated as an interrelated configuration of form, pattern, and movement in De Palma’s Beverly Hills mall scene in Body Double.
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"Saint Francis of Assisi and Franciscan Saints in Italian Preaching: From the Thirteenth to the Beginning of the Fourteenth Century." In Testimony, Narrative and Image: Studies in Medieval and Franciscan History, Hagiography and Art in Memory of Rosalind B. Brooke, 285–308. BRILL, 2022. http://dx.doi.org/10.1163/9789004507418_013.
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Cussen, Bryan. "Pathways to Honour." In Pope Paul III and the Cultural Politics of Reform. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463722520_ch02.
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In his pursuit of honour, Alessandro Farnese prioritised his family. His strategies included securing Church offices, advantageous marriages, and Italian territories for his children and grandchildren. As he rose towards the papacy, Farnese was also influenced by the curial culture in which humanist concepts of the papal role intersected with the code of honour. These concepts, evident in court sermons, reflected a curial script that impelled the pope to project himself as the leading man in the coming of a new Imperium and the dawn of a Golden Age. As pope, Farnese wove this narrative through the magnificent display of festivals, art, and architecture. His pursuit of reform needs to be considered against the backdrop of this narrative.
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BINSKI, PAUL. "How Northern was the Northern Master at Assisi?" In Proceedings of the British Academy, Volume 117. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262795.003.0003.
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The origins of the painters of the upper walls of the right (north) transept of the Upper Church of S. Francesco has mystified historians of the greatest early showcase of Italian narrative art. These origins have been explored in a literature dominated by specialists in Italian and Byzantine art, and the conclusions have generally been the same, namely that the right transept was worked on by artists who were not only Italian but also French or English, and who remained content to work in distinctively native styles. This chapter argues that the case for specifically English influence at Assisi is actually vastly weaker than that proposed for Sigena, and that to understand the right transept we may have to look away from thirteenth-century London or Paris. This is not to rule out categorically the possibility of any English influence at Assisi; caution may simply help us to expose and understand the kinds of assumption about artistic identity and experience, which can be seen in practice to have influenced our understanding of what are exceedingly complex monuments that defy categorical definitions of personal, group, or national style.
Conference papers on the topic "Narrative art, Italian Australia"
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Fischnaller, Franz, Yesi Maharaj Singh, and Martin Reed. "The Last Supper Interactive: Stereoscopic and ultra-high resolution 4K/3D HD for immersive real-time virtual narrative in Italian Renaissance Art." In 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6744830.
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Bandalo, Višnja. "ICONOGRAPHIC DEPICTION AND LITERARY PORTRAYING IN BERNARD BERENSON'S DIARY AND EPISTOLARY WRITING." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/18.
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The paper focuses on the interlacement of literary and iconographic elements by displaying an innovatory philological and stylistic approach, from a comparative perspective, in thematizing multilingual translational and adaptive aspects, ranging across Bernard Berenson's diaristic and epistolary corpus, in conjunction with his works on Italian visual culture. This interweaving gives occasion to the elaboration of multilinguistic textual influences and their verbo-visual artistic representations deduced from his innovative interpretative readings in the domain of world literature in modern times. Such analysis of the discourse of theoretical and literary nature, and of the pictoricity, refers to Bernard Berenson's multilingual considerations about canonical authors in English, Italian, French, German language, belonging to the Neoclassical and Romantic period, as well as to the contemporary era, as conceptualized in his autobiographical works, in correlation with his writings on Italian figurative art. The scope of this presentation is to discern and articulate Berenson's aesthetic ideas evoking literary and artistic modernity, that are infused with crucial notions of translational theory and conveyed through the methodology of close reading and comprising at the same time, in an omnicomprehensive manner, a plurality of tendencies intrinsic to social paradigms of cultural studies. Unexplored premises reflecting Berenson's vision of Italian culture, most notably of a visual stamp, will be analyzed through author's understandings of such adaptive translations or volumes to be subsequently translated in Italian, and through their intertwined intertextual applications, significantly contributing to further critical and hermeneutic reception thereof. Particular attention is drawn to its instancing in the field of Romantic literary production (Emerson, Byron), originally underscoring the specificities of each literary genre and expressive mode, of the narrative, lyric or theatrical nature, as well as concomitantly involving parallel notions as adapted variants within visual arts, and in such a way expressing theoretical views pertainable to Italian artworks too. Other analogous elements relevant to literary expression in the most varied cultural sectors such as philosophy, music, civilisational history (Goethe, Hegel, Kant, Wagner, Chateaubriand, Rousseau, Mme de Staël, Taine) are furnished, as well as the examples of the resonances of non-western cultures, with the objective of exploring the effect among readership bringing also to the renewal of Italian tradition.
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Guedes, Pedro. "Healing Modern Architecture’s Break with the Past: Musings around Brazilian Fenestration." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3990prwvx.
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This paper focuses on the role of Brazilian architects in emancipating Modern Architecture from overly limiting orthodoxies. In particular, this study follows direct, if weak influences across the Pacific to Australia and stronger ones across the South Atlantic to Southern Africa, where Brazilian ideas found fertile ground without being filtered through Northern Hemisphere mediations. Official delegations of architects from Australia and South Africa went to Brazil seeking inspiration and transferable ideas achieved mixed success. Central to the theme of this essay is a recently discovered and unpublished manuscript. It is the work of Barrie Biermann who, upon graduation from the University of Cape Town sailed across to Brazil in 1946 to gain first-hand knowledge of the architecture that had achieved worldwide renown through the 1943 Brazil Builds exhibition at the Museum of Modern Art in New York (MoMA). Biermann’s close observations and discussions with several of Brazil’s leading architects helped him develop a fresh narrative that placed recent developments in a continuum linked to Portuguese colonial architecture that had taken lessons from the ‘East’. Published in a very abridged form in a professional journal in 1950, it lost much of the charm of the original, which, in addition to imaginative theoretical speculation, is enriched by evocative, atmospheric sketches, water colours and photographs. This study shows that South-South connections were quite independent and predated the influence of ‘scientific’ manuals of ‘how-to build in the tropics’ that proliferated from metropolitan centres in the mid-1950s, preparing for decolonization but perhaps also motivated by ambitions of engendering other forms of dependence. Brazilian ideas and examples of built work played an important role in bringing vitality to some of the architectures of Africa. They also engaged with crucial issues of identity and the production of buildings celebrating values beyond the utilitarian.