Journal articles: 'Poetry of Andrea Zanzotto'

1

Singh, G. "Sensibility and Imagination: The Poetry of Andrea Zanzotto." World Literature Today 76, no. 2 (2002): 68. http://dx.doi.org/10.2307/40157261.

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Southerden-Rossi, Francesca, Patrick Barron, and Andrea Zanzotto. "The Selected Poetry and Prose of Andrea Zanzotto: A Bilingual Edition." Modern Language Review 103, no. 4 (October 1, 2008): 1142. http://dx.doi.org/10.2307/20468082.

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Iovino, S. "The Selected Poetry and Prose of Andrea Zanzotto: A Bilingual Edition." Interdisciplinary Studies in Literature and Environment 16, no. 1 (January 1, 2009): 184–85. http://dx.doi.org/10.1093/isle/isn015.

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Zanzotto (book author), Andrea, Patrick Barron (book editor and translator), and Stefano Giannini (review author). "The Selected Poetry and Prose of Andrea Zanzotto: A Bilingual Edition." Quaderni d'italianistica 28, no. 2 (June 1, 2007): 219–21. http://dx.doi.org/10.33137/q.i..v28i2.8544.

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Dyson, Laurel Evelyn. "Schizophrenia as a Poetic Model in Andrea Zanzotto." Forum Italicum: A Journal of Italian Studies 28, no. 2 (September 1994): 342–57. http://dx.doi.org/10.1177/001458589402800208.

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Singh, G., Andrea Zanzotto, and John P. Welle. "The Poetry of Andrea Zanzotto: A Critical Study of Il Galateo in Bosco." World Literature Today 63, no. 1 (1989): 87. http://dx.doi.org/10.2307/40145101.

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Hand, Vivienne, John P. Welle, and Andrea Zanzotto. "The Poetry of Andrea Zanzotto: A Critical Study of 'Il Galateo in Bosco'." Modern Language Review 85, no. 3 (July 1990): 757. http://dx.doi.org/10.2307/3732278.

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Gardini, Nicola. "Linguistic Dilemma and Intertextuality in Contemporary Italian Poetry: the case of Andrea Zanzotto." Forum Italicum: A Journal of Italian Studies 35, no. 2 (September 2001): 432–41. http://dx.doi.org/10.1177/001458580103500208.

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Carravetta, Peter. "Review: The Poetry of Andrea Zanzotto; A Critical Study of “Il Galateo in Bosco.”." Forum Italicum: A Journal of Italian Studies 23, no. 1-2 (March 1989): 346–47. http://dx.doi.org/10.1177/001458588902300148.

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Deguy, Michel, Claude Mouchard, and Martin Rueff. "Andrea Zanzotto est mort." Po&sie 137-138, no. 3 (2011): 5. http://dx.doi.org/10.3917/poesi.137.0005.

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11

Oliveira, Vera Lúcia De. "Intervista ad Andrea Zanzotto." Revista de Italianística, no. 27 (June 6, 2014): 81. http://dx.doi.org/10.11606/issn.2238-8281.v0i27p81-88.

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Zanzotto, Andrea, and G. Singh. "A Letter from Andrea Zanzotto." World Literature Today 76, no. 2 (2002): 73. http://dx.doi.org/10.2307/40157262.

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13

Hand, Vivienne, and Lucia Conti Bertini. "Andrea Zanzotto o la sacra menzogna." Modern Language Review 82, no. 3 (July 1987): 759. http://dx.doi.org/10.2307/3730484.

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Ardizzone, Maria Luisa. "LA POESIA “MINERALE” DI ANDREA ZANZOTTO." Forum Italicum: A Journal of Italian Studies 23, no. 1-2 (March 1989): 3–17. http://dx.doi.org/10.1177/001458588902300101.

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15

Rossi, Vinio, and Beverly Allen. "Andrea Zanzotto: The Language of Beauty's Apprentice." World Literature Today 64, no. 2 (1990): 294. http://dx.doi.org/10.2307/40146450.

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Hand, Vivienne, and Beverly Allen. "Andrea Zanzotto: The Language of Beauty's Apprentice." Modern Language Review 86, no. 3 (July 1991): 759. http://dx.doi.org/10.2307/3731104.

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17

Catulini, Daria. "La botanica come metafora nell’opera di Andrea Zanzotto." Italian Studies 75, no. 3 (June 23, 2020): 354–64. http://dx.doi.org/10.1080/00751634.2020.1778839.

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18

Welle, John P. "Andrea Zanzotto: The Language of Beauty's Apprentice. Beverly Allen." Modern Philology 88, no. 4 (May 1991): 479–81. http://dx.doi.org/10.1086/391916.

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19

Johnson, John. "The Problem of Theory in the Poetics of Andrea Zanzotto." Modern Language Review 95, no. 1 (January 2000): 92. http://dx.doi.org/10.2307/3736373.

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20

Welle, John P. "Il Galateo in bosco and the Petrarchism of Andrea Zanzotto." Italica 62, no. 1 (1985): 41. http://dx.doi.org/10.2307/478679.

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21

Moroni, Mario. "Andrea Zanzotto: l'"io" come unita minima di testimonianza critica." Italica 73, no. 1 (1996): 83. http://dx.doi.org/10.2307/480031.

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22

Marietti, Marina, and Jean-Charles Vegliante. "La «couronne» de sonnets de Folgóre et Cenne à Andrea Zanzotto." Arzanà 10, no. 1 (2004): 181–218. http://dx.doi.org/10.3406/arzan.2004.939.

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23

Mandorlo, Massimiliano. "MARIO LUZI, ANDREA ZANZOTTO. CRONACHE DI UNA POESIA OSTINATA A SPERARE." Forum Italicum: A Journal of Italian Studies 44, no. 1 (March 2010): 37–48. http://dx.doi.org/10.1177/001458581004400101.

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24

Zanzotto, Andrea. "ANDREA ZANZOTTO LETTERE A MARIO LUZI (1958 – 1986) NOTA AL TESTO." Forum Italicum: A Journal of Italian Studies 44, no. 1 (March 2010): 156–69. http://dx.doi.org/10.1177/001458581004400108.

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25

Spampinato, Graziella. "La poesía de la voz (Andrea Zanzotto de "Dietro iI paesaggio" a "Idioma")." Philologia Hispalensis 1, no. 6 (1991): 203–14. http://dx.doi.org/10.12795/ph.1991.v06.i01.19.

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26

Peterle, Patricia. "Páscoa de neve de Enrico Testa." El Hilo de la Fabula, no. 20 (September 26, 2020): 255–69. http://dx.doi.org/10.14409/hf.v0i20.9651.

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A tradução da poesia italiana foi muito importante ao longo do século XX, a partir de nomes que deixaram suas marcas e abriram um diálogo com outras culturas. É possível lembrar de Giuseppe Ungaretti, Eugenio Montale, Umberto Saba e também Andrea Zanzotto, Giorgio Caproni. A primeira dé- cada do novo milénio viu a circulação de uma série de antologias poéticas e de novos volumes de poemas. Neste ensaio, propõe-se uma leitura pontual de Páscoa de neve de Enrico Testa, a partir da publicação da edição brasileira em 2016.

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27

Marcato, Gianna. "Il riflesso della diglossia italiana nella produzione letteraria: la complessità sociolinguistica del Veneto riflessa nei testi letterari di Ruzante e Zanzotto." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 9, no. 3 (June 28, 2018): 14–23. http://dx.doi.org/10.24917/20837275.9.3.2.

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Il contributo mette a fuoco la realtà linguistica italiana attraverso la produzione artistica di due autori, Angelo Beolco (1496?–1542), detto Ruzante, e Andrea Zanzotto (1921–2011), che consentono di penetrare profondamente nella “questione della lingua” di due periodi cronologicamente lontani, ma essenzialmente collegati tra loro da una costante: la diglossia che, da sempre, caratterizza quell’intarsio linguistico e culturale che è l’Italia. In definitiva, raccogliendo l’invito contenuto nel titolo del convegno, la sfida che può venire dall’approccio a questi due autori è quella di consentire una più completa conoscenza dell’italianità.Odbicie włoskiej diglosji w produkcji literackiej: złożoność socjolingwistyczna dialektuweneckiego odzwierciedlona w tekstach literackich Ruzantego i ZanzottaArtykuł pokazuje złożoność rzeczywistości językowej Włoch poprzez analizę dzieł dwóch pisarzy: Angelo Beolco (1496?–1542), zwanego „Ruzante”, oraz Andrei Zanzotto (1921–2011). Ich twórczość, pochodząca z odległych od siebie epok, łączy wspólna cecha – diglosja, która od zawsze była charakterystyczna dla pejzażu językowego Włoch. Fakt, że obydwaj autorzy ukazują w swojej twórczości złożony repertuar językowy, rzuca światło na wielowiekową dyskusję o kwestii językowej we Włoszech.

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Cappelluzzo, Adriana. "Realtà in frantumi. Il paesaggio, l’io e la storia in 'Conglomerati' di Andrea Zanzotto." Incontri. Rivista europea di studi italiani 31, no. 1 (September 10, 2016): 35. http://dx.doi.org/10.18352/incontri.10149.

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29

Santini, Federica. "Da Pasque a Meteo: intersezioni di soggetto, linguaggio, e paesaggio nei versi di Andrea Zanzotto." Italian Culture 29, no. 1 (March 2011): 18–36. http://dx.doi.org/10.1179/016146211x12942386119039.

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30

Burke, Anne. "Welcoming." Brock Review 12, no. 1 (March 20, 2011): 215–18. http://dx.doi.org/10.26522/br.v12i1.399.

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31

Elmougy, Sahar. "Performance Poetry as a Performative Act: A Close Listening to Andrea Gibson’s Poetry." Cairo Studies in English 2020, no. 2 (May 1, 2021): 154–73. http://dx.doi.org/10.21608/cse.2021.173097.

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32

Eliav, Joseph. "Trident and Oar in Bronzino's Portrait of Andrea Doria." Renaissance Quarterly 73, no. 3 (2020): 775–820. http://dx.doi.org/10.1017/rqx.2020.119.

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Previously unpublished X-ray images prove that in the portrait commissioned for Giovio's museum, Bronzino painted Andrea Doria holding an oar, not a trident. The article interprets the portrait in its original form. Examination of the portrait together with the eulogy Giovio attached to it shows that Doria is painted as Odysseus, not as Neptune, and explains the incongruous oar. Erotic insinuations in the portrait suggest that, like Bronzino's burlesque poetry, it has a hidden meaning. Further analysis in the context of Giovio's historiography and a precise dating unveil a meaning that criticizes Doria's incompetence in a recent crucial naval battle.

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33

STEINBERG, JUSTIN. "BANKERS IN HELL: THE POETRY OF MONTE ANDREA IN DANTE'SINFERNOBETWEEN HISTORICISM AND HISTORICITY." Italian Studies 58, no. 1 (January 2003): 5–30. http://dx.doi.org/10.1179/its.2003.58.1.5.

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34

Carlson, David R. "Erasmus and the War-Poets in 1513." Erasmus Studies 34, no. 1 (2014): 5–49. http://dx.doi.org/10.1163/18749275-03401004.

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During Erasmus’ English residence 1509–1514, Henry viii invaded France, as part of the “Holy League,” and, in the English king’s absence, England was attacked by Scotland. The events engendered a great quantity of poetry, as well as other writing: analyzed herein particularly are the verse contributions of Erasmus himself, his amicus Andrea Ammonio, Pietro Carmeliano, Camillo Paleotti, and Bernard André (the poems of these last two being edited and translated in appendices). This poetry in its context of events, both literary and political, influenced the anti-war writings that Erasmus was conceiving at the time, though he only published them later.

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35

Wiandari, Fadhillah. "DRAMATIC MONOLOGUE IN ROBERT BROWNING’S POEM “ANDREA DEL SARTO”." JL3T ( Journal of Linguistics, Literature and Language Teaching) 3, no. 1 (January 12, 2018): 1–10. http://dx.doi.org/10.32505/jl3t.v3i1.326.

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Robert browning and the form of poetry known as â€œdramatic monologueâ€ inevitably go togather. It is already made known that dramatic monologue is esssentially a narrative spoken by a single character. We are to imagine that it is being listened to but never answered; it is a dialogue of which we are to hear only one side. It gains added effect and dimensions through the characterâ€™s comments on his own story and the circumtances in which he speaks. It is through the single characterâ€™s speech that Browning present the plot, characters and scenes. It is through the words of Andrea that the reader can feel the presence of the plot, characters and scenes. This article tries to describe how Robert Browning handles his three objects in writing dramatic monologue through his poem entitled Andrea Del Sarto.

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36

Arpioni, Maria Pia. "Lo sguardo sul paesaggio nella fotografia di Giovanni Pasinato // The Look into Landscape in the Photography of Giovanni Pasinato // La mirada sobre el paisaje en la fotografia de Giovanni Pasinato." Ecozon@: European Journal of Literature, Culture and Environment 6, no. 1 (March 2, 2015): 73–96. http://dx.doi.org/10.37536/ecozona.2015.6.1.639.

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Il saggio presenta il lavoro di un giovane fotografo del Nord Est italiano, Giovanni Pasinato (Venezia 1974-), attraverso l’analisi della sua opera e un’intervista all’autore, impegnato in un’attività dalle consistenti valenze cognitive ed etiche, ascrivibile alla Scuola italiana di fotografia del paesaggio (Luigi Ghirri, Guido Guidi, Giovanni Chiaramonte), ma dotata di tratti originali in forte sviluppo. Il contributo intende mostrare come la fotografia di Pasinato—dalle esplorazioni del “terzo paesaggio” lungo strade e autostrade, alla ricerca condotta sulle scene urbane di Treviso e Venezia Mestre, fino alla più recente perlustrazione dell’antico bosco del Montello (sulla cui esistenza minacciata si era levato altissimo anche il canto poetico di Andrea Zanzotto, scomparso nel 2011)—sia tutta incentrata sulla funzione fondamentale dello “sguardo,” grazie alla quale il suo lavoro si caratterizza come indagine e strumento di consapevolezza, in senso lato “politica,” sul rapporto fra l’essere umano e i luoghi. Le immagini di Pasinato, sommesse, limpide e allo stesso tempo avvolte da vaghezza, interrogano l’osservatore, proponendogli un dialogo con gli spazi fotografati ed evidenziando l’inscindibilità stilistica fra forma e contenuto; si distinguono per l’assenza di ogni compiacimento soggettivistico ed estetico, a favore della riscoperta, realizzata per mezzo di una essenziale valorizzazione della “visione,” dello stretto nesso fra cultura e natura, fra l’essere umano e gli altri viventi. Proprio mentre sollecitano il senso della nostra responsabilità collettiva, tralasciando ogni cedimento sentimentalistico e nostalgico, queste fotografie invitano ad avere coscienza e perciò, in ultima analisi, speranza. Pasinato rivendica così alla fotografia un’alta funzione artistica e civile, spesso misconosciuta proprio da quegli enti e istituzioni che dovrebbero avere a cuore il bene comune. Abstract The analysis and the interview of the author contained in this essay portray the work of a young Italian photographer, Giovanni Pasinato (Venice 1974-), who lives in the North East of Italy and who devotes himself to an activity encompassing important cognitive and ethical aspects. His work can be included within the Italian School of Landscape Photography (Luigi Ghirri, Guido Guidi, Giovanni Chiaramonte), but has original features in robust development. This essay will show how Pasinato’s photography—from his explorations of the “third landscape” along roads and highways, through his research in the urban scenes of Treviso and Venice Mestre, up to the latest reconnaissance of the Montello’s ancient wood (on whose endangered existence, Andrea Zanzotto, who died in 2011, wrote wonderful poems)—is entirely focused on the fundamental function of the “look,” thanks to which his work characterizes itself as an investigation, an instrument of the awareness, in the broad sense “political,” of the relationship between human being and place. Pasinato’s whispered, limpid yet at the same time ambiguous images, question their beholders, offering them a dialogue with the photographed spaces, underlining the stylistic indivisibility between form and content. In comparison to other landscape photography experiences, Pasinato’s works stand out, thanks to the absence of any subjective and aesthetic self-gratification and by favouring, through an essential enhancement of the “vision,” the revival of the close relationship between culture and nature and between human beings and other living beings. Just as his photographs stress the importance of our collective responsibility, ignoring any sentimental or nostalgic concession, they are an exhortation to raise awareness and, ultimately, hope. Thus, Pasinato ascribes to photography a highly artistic and civil function, which is often disregarded by those organizations and those authorities that should really care for the common good. Resumen El análisis y la entrevista del autor en que se centra este ensayo presentan la obra de un joven fotógrafo del noreste de Italia, Giovanni Pasinato (Venecia, 1974-), que se dedica a un actividad que abarca importantes aspectos cognitivos y éticos. Su trabajo puede incluirse en la Escuela Italiana de Fotografía del paisaje (Luigi Ghirri, Guido Guidi, Giovanni Chiaramonte), pero tiene rasgos originales en fuerte desarrollo. Este ensayo mostrará como la fotografía de Pasinato—desde sus exploraciones del "tercer paisaje" en el camino de carreteras y autopistas, la investigación en las escenas urbanas de las ciudades de Treviso y Venecia Mestre, hasta la más reciente exploración del antiguo bosque de la colina llamada Montello (sobre el riesgo de su desaparición, también el poeta Andrea Zanzotto, fallecido en 2011, escribió algunas de sus mejores obras)—está completamente enfocada en la función fundamental de la observación, gracias al que su trabajo se caracteriza como una investigación, un instrumento de la concienciación, en el amplio sentido “político”, de la relación entre ser humano y lugar. Las imágenes de Pasinato, suaves, claras y al mismo tiempo envueltas en vaguedad, questionan a quien observa, le proponen un dialogo con los espacios fotografiados y subrayan la inseparabilidad estilística entre forma y contenido. En comparación con otras experiencias de fotografía del paisaje, las representaciones de Pasinato destacan gracias a la ausencia de autocomplacencia subjetivista y estética, tratando de descubrir nuevamente la estrecha interrelación entre naturaleza y cultura, entre los seres humanos y otros seres vivientes. En cuanto instan nuestro sentido de la responsabilidad colectiva, dejando de poner la atención en sentimentalismos y nostalgias, estas fotografías invitan a adquirir conciencia y, además, esperanza. Pasinato reclama para la fotografía una importante función artística y civil, muchas veces ignorada por las instituciones que deberían preocuparse por el bien común.

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37

Cataldi, Claudio. "Trinity Homily XXIX De Sancto Andrea between Tradition and Innovation." Anglia 135, no. 4 (November 10, 2017): 641–68. http://dx.doi.org/10.1515/ang-2017-0066.

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AbstractRecent scholarship has challenged the view of the late twelfth-century Trinity Homilies, and of the contemporary Lambeth Homilies, as two collections that merely continue the earlier Old English vernacular homiletic tradition. This study aims to contribute to the scholarly debate on the Trinity Homilies by considering the elements of tradition and innovation featured in the twenty-ninth sermon of the collection, De Sancto Andrea. Through a discussion on the passage on the ‘Soul’s Address to the Body’ preserved in this homily, I shall show that Trinity XXIX includes both elements of continuity with the ‘Soul and Body’ literature attested in Old English homiletic texts (like the antithetical rhetorical pattern developed in the damned soul’s speech) and new features (like the motif of the ‘Signs of Death’ and the theme of ‘neglectful friends’) which reflect early Middle English developments in the ‘Soul and Body’ theme. I shall argue that the Trinity XXIX homilist probably adapted and reworked a lost Latin source into a poetic passage metrically and thematically consistent with contemporary ‘Soul and Body’ poetry. In the Appendix, I shall discuss the sources for the Latin material embedded in Trinity XXIX.1

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38

Montanari, Giacomo. "Between Poetry and Painting: Giovanni Andrea dell’Anguillara’s Metamorfosi as a Model for Genoese Baroque Poets and Painters." Actual Problems of Theory and History of Art 8 (2018): 162–69. http://dx.doi.org/10.18688/aa188-1-15.

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39

Reynolds, Lauren. "Haunting Pasts: Ghosts of Exile in the Poetry of Nancy Morejón, Nilda Cepero, and Andrea O'Reilly Herrera." Cuban Studies 45, no. 1 (2017): 179–96. http://dx.doi.org/10.1353/cub.2017.0011.

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40

STEINBERG, JUSTIN. "BANKERS IN HELL: THE POETRY OF MONTE ANDREA IN DANTE'S INFERNO BETWEEN HISTORICISM AND HISTORICITY." Italian Studies 58, no. 1 (January 1, 2003): 5–30. http://dx.doi.org/10.1179/007516303790557372.

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41

Epstein, Robert. "Lydgate Matters: Poetry and Material Culture in the Fifteenth Century . (The New Middle Ages). Lisa H. Cooper , Andrea Denny-Brown." Speculum 84, no. 4 (October 2009): 1027–28. http://dx.doi.org/10.1017/s0038713400208294.

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42

Corelli, Silvia. "Coleman, James K. and Andrea Moudarres, éds. Luigi Pulci in Renaissance Florence and Beyond. New Perspectives on his Poetry and Influence." Renaissance and Reformation 41, no. 4 (2018): 226. http://dx.doi.org/10.7202/1061936ar.

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Conselvan, Federica. "James K. Coleman and Andrea Moudarres (Editors), Luigi Pulci in Renaissance Florence and Beyond. New Perspectives on his Poetry and Influence." Forum Italicum: A Journal of Italian Studies 54, no. 2 (October 25, 2019): 697–99. http://dx.doi.org/10.1177/0014585819882882.

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Polcri, Alessandro. "Luigi Pulci in Renaissance Florence and Beyond: New Perspectives on His Poetry and Influence. James K. Coleman and Andrea Moudarres, eds. Cursor Mundi 29. Turnhout: Brepols, 2017. 240 pp. €75." Renaissance Quarterly 72, no. 3 (2019): 1134–35. http://dx.doi.org/10.1017/rqx.2019.345.

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Scott, Bonnie Kime. "Paris Was a Woman: Portraits from the Left Bank. Andrea WeissGender and History in Yeats's Love Poetry. Elizabeth Butler CullingfordThe Mirror and the Killer-Queen: Otherness in Literary Language. Gabriele Schwab." Signs: Journal of Women in Culture and Society 23, no. 2 (January 1998): 524–27. http://dx.doi.org/10.1086/495267.

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Brewer, Kenneth Larry. "Morton D. Paley, Coleridge's Later Poetry. Oxford: Clarendon Press, 1996. ISBN: 0 19 818372 0 (hardback). Price: £25. Andrea K. Henderson, Romantic Identities: Varieties of Subjectivity: 1774-1830. Cambridge: Cambridge University Press, 1996. ISBN: 0 521 48164 3 (hardback). Price: £30 (US$44.95)." Romanticism on the Net, no. 6 (1997): 0. http://dx.doi.org/10.7202/005747ar.

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Bryan, Jenny. "Philosophy." Greece and Rome 65, no. 2 (September 17, 2018): 269–77. http://dx.doi.org/10.1017/s0017383518000220.

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Three recent volumes indicate a growing appreciation of the significance and complexity of Plato's account of mousikē in the Laws. Anastasia-Erasmia Peponi's edited work, Performance and Culture in Plato's Laws, collects fifteen diverse chapters by prominent scholars in Greek literature, philosophy, and culture to produce an immensely rewarding and original range of perspectives on Plato's treatment of performance and poetics in the Laws. As Peponi notes in her brief introduction, the complexity of the cultural background that Plato manipulates and appropriates in the Laws, as well as the intricacy of the Platonic appropriation itself, combine to present a very real challenge to any scholar seeking to understand them. In addition, it is hard to see that any robust treatment of the Laws’ political theory can avoid getting to grips with the fundamental connections between politics and performance established within the dialogue. Any reader with an interest in either Plato's political philosophy or his poetics will be well rewarded by time spent with this volume. The chapters are divided into four sections, which focus in turn on issues of cultural identity (‘Geopolitics of Performance’), the role of the choruses in Magnesia (‘Conceptualising Chorality’), the Laws’ treatment of genre (‘Redefining Genre’), and the later reception of the Laws’ poetics (‘Poetry and Music in the Afterlife of the Laws’). In the second of the volume's two chapters on cultural identity, Ian Rutherford considers the Laws’ representation of Egypt as a culture that successfully resists political and moral decline via a commitment to stability in mousikē. Setting Plato's account against the external evidence, Rutherford suggests that the Laws offers a partial fiction of stable Egyptian mousikē, useful not least for the implications of its possible critical connection to Dorian culture. In the last of five chapters on the Laws’ interest in the civic apparatus of choral performance, Peponi demonstrates the singularity of choral performance in the work. Whereas the Laws treats most types of performance as producing pleasure in the spectator, in the case of choruses, the emphasis is on the pleasure and experience of the performers. Peponi argues that this shift in focus represents a Platonic attempt to ‘de-aestheticize’ the chorus. In this way, Plato seeks to rehabilitate mousikē by divesting it of the psychological and aesthetic flaws identified in the Republic’s extended critique. However, as Peponi notes in conclusion, the Laws is not altogether comfortable with this sort of performative pleasure. In the first of five chapters on genre, Andrea Nightingale discusses the Laws’ manipulation of generic diversity in service of the unified truth represented by the law code at its heart. Nightingale presents a fascinating and original analysis of the law code as a written text rather different in character from that criticized in the Phaedrus as a pharmakon that destroys our memory of truth. Rather, it serves to encourage the internalization of truths by obliterating the citizens’ memories of previous unwanted cultural norms. In the volume's final chapter, Andrew Barker turns to Aristoxenus for help in making sense of Plato's suggestion that music can be assessed as ‘correct’ or ‘incorrect’, or as ‘good’ or ‘bad’. Contrasting the Platonic focus on mimesis and ethical correctness with Aristoxenus’ assessment of music ‘by the standard of its own intrinsic values’ (413), Barker suggests that, of the two treatments, Plato's is the furthest removed from general Greek opinion. These varied and illuminating chapters are representative of the scope and quality of the volume, which not only serves to open up new directions for research on the Laws but also makes plain that the Laws is at least as important as the Republic for a thorough understanding of Plato's views on art and culture, and their relation to politics.

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48

"The selected poetry and prose of Andrea Zanzotto." Choice Reviews Online 45, no. 03 (November 1, 2007): 45–1364. http://dx.doi.org/10.5860/choice.45-1364.

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49

Annovi, Gian Maria. "1968 / Beltà: Corpo, violenza e linguaggio in Andrea Zanzotto." Carte Italiane 2, no. 4 (2008). http://dx.doi.org/10.5070/c924011352.

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50

Colella, Massimo. "«Nuove vie di Beltà». Intertestualità dantesca nella poesia di Andrea Zanzotto." Cuadernos de Filología Italiana 25 (December 17, 2018). http://dx.doi.org/10.5209/cfit.58138.

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Journal articles on the topic 'Poetry of Andrea Zanzotto'

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