Italian Literature

Sulla fortuna dei Politicorum libri sex di Giusto Lipsio in Italia. La traduzione di Alessandro Tassoni, in Studi in ricordo di Armando Saitta, Milano, Franco Angeli, 2002, pp. 139-154

by Alberto Clerici

La conversion de Pirandello au cinéma

by Fabio Andreazza

published in 'Actes de la recherche en sciences sociales', 161/162 (mars 2006)

In 1915, Pirandello publishes Si gira (Shoot!), a novel whose main protagonist/ narrator is a movie operator. This... more In 1915, Pirandello publishes Si gira (Shoot!), a novel whose main protagonist/ narrator is a movie operator. This work bears witness both to his interest in the new art, and to the low esteem in which he held it. Pirandello’s distrust seems to be related to his specific social dispositions as a provincial and to the structural antagonism that opposed him, a yet little known writer defending a very demanding conception of art, to D’Annunzio and the Futurists, who were already famous and were then the only Italian writers defending cinema. Pirandello’s position changes considerably in the early 1920s. The success of Six Characters in Search of An Author launches his international career and makes him aware that the cinematographic field is much wider and more differentiated than what he had initially thought in the 1910s. The work of some directors seemed to confirm that transposing his own poetics into film was possible. He then conceived the project of a movie adapted from his most famous theater play and even entertained the notion of triggering a cinematographic revolution as important as the one he had accomplished for theater.

En 1915 Pirandello publie On tourne, un roman dont le protagoniste / narrateur est un opérateur de cinéma. Ce texte témoigne de son intérêt pour le nouvel art, mais aussi du peu de considération qu’il lui accorde. La méfiance de Pirandello semble liée à ses dispositions de provincial et à l’antagonisme structural qui l’oppose, comme écrivain attaché à une conception exigeante de l’art et encore peu connu, à D’Annunzio et aux futuristes qui, déjà célèbres, sont les rares écrivains italiens de l’époque à défendre le cinéma. La position de Pirandello change considérablement au début des années 1920. La carrière internationale que lui ouvre le succès de Six personnages en quête d’auteur, lui donne l’occasion de mesurer que l’espace cinématographique est plus vaste et plus différencié qu’il ne le pensait dans l’Italie des années 1910. Certains metteurs en scène lui paraissent témoigner de la possibilité de produire des films conformes à sa poétique. Il conçoit alors le projet d’un film tiré de sa pièce la plus célèbre et affiche même l’ambition de réaliser dans le cinéma une révolution analogue à celle qu’il avait opérée dans le théâtre.

Italian, Spanish and Catalan Literature in a Comparative Perspective.

by Oriol Miro Marti

Co-author of the course. ICON-ELLEU (E-Learning per le Lingue e Letterature Europee): EU's Cultural and Educational Project for the promotion of E-Learning, Literature and Cultural studies, 2005-2006.

Work Notes on Etruscan Mirrors and Murals, Part I

by Mel Copeland

This is a PDF file from our website covering Etruscan Mirrors and Murals, with images compiled from the Etruscan Phrases website http://www.maravot.com/Etruscan_Phrases_a.html.

In contrast to offerings from the British Museum and University of Bologna, where their analyses, following Pallottino, are generally speculation based on guesswork relating to short funerary inscriptions, the Etruscan Phrases work is supported by a strong grammar and vocabulary based on all texts, small and large. Thus, to clear the mystery of the Etruscan language alleged by such esteemed institutions, it is imperative that the Etruscan Phrases GlossaryA.xls be audited. We mention this since the only prospect of clearing up the Etruscan Mystery is through a verifiable audit of the Etruscan Grammar recorded in Etruscan Phrases. The British Museum, University of Bologna and other "Pallottino School" works have not produced a vocabulary or grammar that can be audited, since their theory is that the Etruscan language is unlike any other known to man, not Indo-European. Etruscan Phrases claims that the Etruscan Language is similar to Latin, French, Italian and Romanian, an Indo-European language. It offers a grammar, declension patterns and regular, measurable shifts between Etruscan and these languages; ergo the work can be easily audited.

Most important to the work are the Etruscan mirrors and murals that contain known Classical stories and the names of the principle characters in the stories. The star of the mirrors is Helen of Troy who was the young daughter of King Tyndareüs of Sparta and abducted by the equally beautiful son of King Priam of Troy, thereby causing the Trojan War. While the entire story has captured the hearts and imaginations of generations since that event (Troy was destroyed ~1180 B.C.) we can presume through Etruscan mirrors that the event was part of their history – and they had a somewhat different recollection of it than the Greek version passed down to us.

Because the story is familiar and linking the genesis of Greek heroes and gods, containing their names and actions, we have comparative texts to use in analyzing the Etruscan language, its shifts from Greek and Latin to Etruscan. For instance the heroes of the story follow a regular shift, of dropping vowels and final consonants, etc. Heracles (L. Hercules) is Hercle (almost like the French, Hercule). Helen’s name declines: Helenai and Helenei, leading us to the declension of other nouns. Her father was Zeus who transformed into a swan and raped the goddess Nemesis THALNA (retribution) who had transformed into a goose. She laid an egg or two eggs, one of which was Helen which was found by shepherds near Sparta and taken to Tyndareüs and Leda to bring up. From the egg came Helen, the most beautiful woman in the world.

The most beautiful man at the time was Alexander, spelled ELCHSENTRE and he abducted Helen from her husband Menelaus, MENLE, the brother of King Agamemnon: ACHMEMNVN. His wife Clytemnestra is CLVTHVMVSTHA who murdered her husband in the bath upon returning from the Trojan War, and their son, Orestes (VRSTE) killed her and her lover in revenge. Athena (L. Minerva) is MENRFA; Hera (L. Juno) is VNI, her consort is Zeus (L. Jupiter) Etr. TINIA. Thetis is THETIS and THETHIS, she was a dangerous shape-changer and compelled by the gods to wed her husband Peleus, PELE; they produced the Greek hero of the Trojan War, Achilles who the Etruscans call ACHLE. The mother of Helen, Leda, is LATFA and her brothers, Castor and Polydeukes (Pollux) are CASTVR and PVLTVCEI. Their father Tyndareüs is TVNTLE. Aphrodite (Etr. TVRAN) was a cause of the Trojan War when she was judged by Alexander as “The Fairest” as written on an apple thrown into the wedding of Thetis and Peleus by Eris (Etr. ERIS). Aphrodite’s son was Eros (Etr. ERVS) – appearing in many texts. Another popular figure in Etruscan mirrors is Hermes (L. Mercury) TVRMS.

Apollo (APLV) and Artemis are represented frequently in the texts. Ajax Telemonos EIFAS TELMVNVS committed suicide after Achilles was killed, because he did not deserve Achilles’ armor. Apollo (APLV) and his sister the virgin huntress Artemis (ARTVMES) were highly active in the Trojan War. The Etruscans introduce a new character like Artemis called MEAN who crowns Alexander, awarding him the hand of Helen, though we understand from the Greek version that it was Aphrodite (Etr. TVRAN) that awarded Alexander the hand of Helen in the Judgment of Paris. MEAN appears to be a goddess of the hunt like Artemis from Lydia, recalling the old name of Lydia, Maionia (Μαιονία). This is just a tease, for the mirrors and murals carry amazing details never before known to modern man. The images, names and texts associated with the mirrors and murals set the baseline for understanding Etruscan Grammar and the words recorded in Etruscan Phrases GlossaryA.pdf. (The most current version available at http://www.maravot.com/Etruscan_Phrases_a.html.

We should hope, therefore, that there will be many linguists / scholars who will jump at the chance to clear up the Etruscan Mystery and rewrite the histories so clearly overshadowed by the Pallottino School theories, to help even the museums containing Etruscan artifacts explain a bit more about the items in their displays.

Etruscan GlossaryA.pdf an index to about 2,500 Etruscan words that are similar to Latin, French, Italian and Romanian. Declension patterns follow those in Latin. The 2,500 words equal the repeated words in 6,000 words of the major extant texts. The texts have been frozen in time, covering ~700-400 B.C., representing a lens to understanding the early formation of Indo-European languages, particularly the early Italic-Latin-Celtic languages, such as Italian, French & Romanian / Dacian. (By 45 BC. the language was a dead language - no one understood or could write Etruscan)

This GlossaryA works together with Indo-European Table 1 which refutes theories by the Pallottino school of thought that the Etruscan language is not Indo-European and an isolate, unlike any other language. It is very close to Latin and, curiously, Romanian, Italian and French. The Latin suffix, "us" shifts to "o" as in Italian (Titus vs Tito); first person conjugation patterns are similar to French and Romanian. This GlossaryA provides a quick look at the grammatical structure of the Etruscan language, how closely it coincides with Latin. A more detailed Declension Table can be seen on the Etruscan Phrases website. These PDF documents facilitate independent confirmation of the words in GlossaryA.xls , the Grammar and Declension Table. All words can be examined from actual images of texts on the Etruscan Phrases website. Over 150 texts, with about 6,000 words can be examined at Etruscan Phrases.

The Etruscans surfaced in Italy about 1,000 B.C., reputed to have arrived from Lydia / Phrygia. The Phrygians originated near Macedonia in Thrace, according to Herodotus. One may therefore inquire whether the ancient Thracians (Dacians, Gettae, modern Romanians), spoke a language common to the Phrygians, at the time of the Trojan War and after (~1180 B.C.). The Thracians, Phrygians and Lydians (also dead languages) were allies of the Trojans, according to the Iliad. Etruscan Phrases finds a common vocabulary among Latin, Italian, French, Romanian, Etruscan and Phrygian. While French, Spanish, Italian and Romanian are considered Romance languages, showing a similar Latin heritage, Etruscan is not, of course, a Romance language, as it preceded Latin, at least in the written form (giving Rome its alphabet).

Resolution of the Etruscan Mystery may be likened to Michael Ventris' decipherment of Linear B and Jean-François Champollion's decipherment of Egyptian hieroglyphics using the Rosetta Stone - written in Egyptian hieroglypics, Demotic and Greek. The decipherment of Etruscan is a bit more challenging, since we have no multilingual Rosetta Stone, but we do have enough vocabulary and grammar to establish that Etruscan is similar to Latin, French, Italian and Romanian. (Certainly far more vocabulary and a more extensive grammar is provided in Etruscan Phrases than that used by Ventris to claim translation of Linear B as an old form of Greek)

The mirrors with the Devotional Plates may be an easy entry into an audit, for those who are hesitant to examine the larger texts, such as the Zagreb Mummy (Script Z).

Scomporre quadri, immaginare mondi. Dinamiche figurative e percezione nella poesia di Antonella Anedda

by Eloisa Morra

Per un ritratto dello scrittore R.M. Ratti. Soglie e frammenti dei Detti immemorabili di M. Piazzolla

by Matteo Martelli

in CI STIAMO ABITUANDO ALL’INFERNO, Atti dei Convegni per il Centenario della nascita di Marino Piazzolla, Editrice Fermenti, Roma, 2012

http://www.fermenti-editrice.it/novita.php http://www.fermenti-editrice.it/novita.php

Avanti Popolo: Italian-American Writers Sail Beyond Columbus

by Michael Carosone

Boccaccio e l'invenzione del libro illustrabile: dal Teseida al Decameron

by Martina Mazzetti

"Per Leggere", 21, 2011

Uno studio sulle petrose di Dante

by Marco Petolicchio

Il file della mia tesi di laurea triennale, incentrata sull'analisi dei rapporti tra Dante e la letteratura provenzale nel ciclo "petroso".

- La storia e la morale. Machiavelli nel giudizio di Cesare Balbo, “Storia e Politica”, 1 (2011), pp. 64-83.

by Alberto Clerici

I manoscritti ‘in lingua italiana’ della Moravská zemská knihovna di Brno, «Giornale Storico della Letteratura Italiana», vol. CLXXXVII, anno CXXVII, fascicolo 619 (2010), pp. 434-52.

by Paolo Divizia

L’articolo offre un censimento dei manoscritti ‘in lingua italiana’ – includendo in tale categoria i manoscritti che... more L’articolo offre un censimento dei manoscritti ‘in lingua italiana’ – includendo in tale categoria i manoscritti che contengono testi pre-bembiani in volgare, testi in lingua italiana vera e propria oppure in un italiano fortemente dialettizzato, come sono alcuni codici provenienti dalla Repubblica di Venezia – conservati presso la Moravská zemská knihovna (Biblioteca Regionale Morava) di Brno.



This paper provides a census of the manuscripts written ‘in Italian language’ – by such a category including manuscripts which read pre-Bembo vernacular works, texts written in proper Italian language and works written in a marked regional variety of Italian such as are some codices coming from the Republic of Venice – which are preserved at the Moravská zemská knihovna (Moravian Regional Library) in Brno.

The Renaissance of the Bantu Languages in Literature

by Susanna Iacona Salafia

Bilancio degli studi italiani di onomastica letteraria negli anni dal 1980 al 2005.

by Leonardo Terrusi

Co-authored with Bruno Porcelli. Published in Atti del XXII Convegno internazionale di Scienze onomastiche, Pisa, 28 agosto-4 settembre 2005, a cura di M. G: Arcamone, D. Bremer, D. De Camilli, B. Porcelli, vol. I, Pisa, ETS, 2007 [ma 2008], pp. 103-154.

Le Nom et ses fonctions dans les études onomastiques en Italie

by Leonardo Terrusi

Co-authored with Bruno Porcelli. Published in «Onoma», 40, 2005 [ma 2008], pp. 237-282.

Alda Merini's aphorisms in The FSG Book of Twentieth-Century Italian Poetry

by Douglas Basford

Edited by Geoffrey Brock. Farrar, Straus and Giroux, 2012. My translations of six of Alda Merini's aphorisms from Aforismi e magie. Just out in hardback.

from Alda Merini's Aphorisms and Spells

by Douglas Basford

Poetry, Dec. 2007. My translations of six of Merini's aphorisms.

from Alda Merini's Aphorisms

by Douglas Basford

Poetry, Dec. 2007. My translations of seven of Merini's aphorisms.

Pinocchio, Giufà, il Pellegrino Russo. Tre figure contro il lavoro.

by Pietro Piro

Parte prima: Pinocchio.

Nella prima parte di questo lavoro, si analizza celebre la favola di Carlo Collodi, Pinocchio. In questo saggio... more Nella prima parte di questo lavoro, si analizza celebre la favola di Carlo Collodi, Pinocchio. In questo saggio Pinocchio è interpretato alla luce del suo iniziale rifiuto del lavoro. La sua "redenzione" attraverso la sofferenza e l'umiliazione lo trasformeranno in seguito in un lavoratore instancabile. Pinocchio si adeguerà alla morale borghese del proprio tempo. Pinocchio, è un libro che può essere inserito nella corrente della pedagogia nera. L'intento narrativo (più o meno occulto) è di intimorire e di normalizzare.

En la primera parte de este trabajo, se analiza el famoso cuento de de Carlo Collodi, Pinocho. En este ensayo Pinocho es interpretado a la luz de su negativa inicial a trabajar.Gracias a su "rescate" a través del sufrimiento y la humillación más tarde se transforma en un trabajador incansable. Pinocho se adapta a la moral burguesa de su tiempo. Pinocho es un libro que se puede insertar en la corriente de la pedagogía negra. La intención de la narración (más o menos oculta) es intimidar y normalizar.

"Con su constante deseo de trabajar y su incansable actividad, no sólo conseguía atender cumplidamente a todas las necesidades de la vida, y especialmente a las de su padre enfermo, sino que había podido ahorrar hasta unas cuarenta perras chicas para comprarse un traje nuevo".

Carlo Collodi, Pinocho.

Seminario inter ungaretti, poeta de tres continentes| sao paulo-sp

by Andrea Lombardi

A Experiência Brasileira de Ungaretti

by Andrea Lombardi