Caterina Bernardini gauges the effects that Walt Whitman’s poetry had in Italy from 1870 to 1945: the reactions it provoked, the aesthetic and political agendas it came to sponsor, and the creative responses it facilitated. Particular attention is given to women writers and noncanonical writers often excluded from previous discussions in this area of study. Bernardini also investigates the contexts and causes of Whitman’s success abroad through the lives, backgrounds, beliefs, and imaginations of the people who encountered his work. Studying Whitman’s reception from a transnational perspective shows how many countries were simultaneously carving out a new modernity in literature and culture. In this sense, Bernardini not only shows the interconnectedness of various international agents in understanding and contributing to the spread of Whitman’s work, but, more largely, illustrates a constellation of similar pre-modernist and modernist sensibilities. This stands in contrast to the notion of sudden innovation: modernity was not easy to achieve, and it did not imply a complete refusal of tradition. Instead, a continuous and fruitful negotiation between tradition and innovation, not a sudden break with the literary past, is at the very heart of the Italian and transnational reception of Whitman. The book is grounded in archival studies and the examination of primary documents of noteworthy discovery.
Per lungo tempo gli Ospedali Psichiatrici Giudiziari sono stati una realt sfuggita ai pi e oggetto d'interesse solo per gli addetti ai lavori. Lo scopo di questo scritto far conoscere la legislazione che ha disciplinato la "follia" ed in particolare la" follia criminale" del malato di mente autore di reato. Il testo curato dalla Dott.ssa Caterina Catalfamo d uno sguardo alla legislazione italiana sugli Ospedali Psichiatrici Giudiziari, per giungere, prospettandone qualche criticit , alla legge che ne prevede il loro superamento.
This book, written for both teachers of English and advanced lan-guage students, presents research related to spoken discourse carried out by three linguists from the Università Cattolica del Sacro Cuore. The book opens with an article by James Rock on the Common Eu-ropean Framework of Reference and its relevance to the concept of communicative competence and the practice of learning spoken English within the university context. In his second article, Rock presents an overview of studies on phra-seology in the non-native speaker setting, and shows that initial interest in phraseology in the field of language acquisition highlighted the fact that native-like fluency does not stem so much from knowledge of grammatical rules as from features of idiomaticity. In the third paper in the collection, Caterina Pavesi examines learner English written on the computer and seeks to ascertain the status of this Eng-lish on the written-spoken continuum. Learner English has been the object of a great deal of scholarly attention in recent decades, but it has not yet been studied in any great depth in its computer-mediated form. The fourth article in the book examines the language of films, traditionally considered to be an artificial form of language, not representative of speech, and thus of little value in the study of spoken discourse. In direct contrast with this view, PIerfranca Forchini shows that empirical research on American movies transcribed by her actually proves that the language of movies is extremely similar to conversation along several parameters. Adopting Biber’s analytical method, Multi-Dimensional Analysis, which attaches a score to features of language and measures the occurrence of these features, grouping them into dimensions which can describe different types of discourse, Forchini shows that movie language is surprisingly similar to conversational discourse on four out of five dimensions, thus overturning the long-held view of the status of this type of language, and providing scientific justification for using movies to teach features of spoken discourse. The research was presented at the Università Cattolica del Sacro Cuore in Brescia in October 2013 under the auspices of and with the support of the Centro Linguistico dell’Università Cattolica (CLUC).
This study gauges the effects that Walt Whitman's poetry had in Italy in the period from 1870 to 1945: the reactions it provoked, the aesthetic and political agendas it came to sponsor, and the creative responses it facilitated. But it also investigates the contexts and causes of Whitman's success abroad, in the lives, backgrounds, beliefs, and imaginations of the people who encountered it. Ultimately, it chronicles the evolution of a literature intent on regenerating itself and moving toward modernity. Bernardini gives particular attention to women writers and noncanonical writers often excluded from previous discussions of Whitman's Italian reception. The book is grounded in archival studies and examination of primary documents, which led to a series of noteworthy discoveries. While the main focus is on the Italian literary scene, the history of the reception retraced here is constantly evaluated in relation to other cultures that were also intent, in those same years, on reading and recreating Whitman. Studying Whitman's reception from a transnational perspective shows how many countries were simultaneously carving out a new modernity in literature and culture. In this sense, Bernardini not only shows the interconnectedness of various international agents in understanding and contributing to the spread of Whitman's work, but, more largely, a constellation of similar pre-modernist and modernist sensibilities. This stands in contrast to the notion of sudden innovation: modernity was not easy to achieve, and most of all, it did not imply a complete refusal of tradition. Instead, a continuous and fruitful negotiation between tradition and innovation, and not a sudden break with the literary past, is at the very heart of the Italian and transnational reception of Whitman"--
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