It is impossible to say just what I mean!' Prufrock's frustration in Eliot's celebrated poem underlines the pessimistic view of language at the heart of much Modernist poetry. Locating the greatest Italian poet of the twentieth century, Eugenio Montale, firmly within European Modernism, thisbook examines the struggle with language that is central to his work. What can a poet do when words fail him? Does he put down his pen, retreat into silence? Does he seek instead to push language towards its limits, and, if so, what tools can he employ? What part does metaphor, the via negativa,allusive or understated writing have in this process? These are just some of the issues that Clodagh J. Brook seeks to address. In its unravelling of the inexpressibility paradox, her book offers a new reading of Montale's early verse, and reveals how in articles and metapoetic comments Montalegives us insights into both his poetics and the whole process of expression.
Religion has had been foundational in shaping Italy. Home to the Vatican State, the Italian peninsula is the religious centre for one billion Catholics globally. It is also increasingly home to those of other faiths, especially Islam. Italy's development as a contemporary post-secular and multi-religious society is fraught and fascinating. The recent return of religious discourse from the margins of Western society to a central position is a sign of what German philosopher, J?rgen Habermas, has defined as the post-secular condition. Habermas and others have questioned what most people in the West had, up to a few years ago, taken for granted: the unstoppable forward march of secularization and the subsequent marginalization of religion. Instead, one of the greatest global fault-lines in the contemporary world - the divide between absolutist extremist Islamic faith and liberal, but Christian-inflected, secular values - has religious identity at its core. The first book-length study to examine religion in contemporary Italian cinema and television fiction, Screening Religions in Italy identifies two key issues: how Italian filmmaking constructs the continuing position of religion in the public sphere and why religion persists on Italian screens. It spans genres such as horror, comedy, hagiopics, and TV fiction, and explores both commercial and art-house filmmaking. It treats films and television series that range from Moretti's Habemus Papam to Sorrentino's The Young Pope.
Examines the works of a noted Italian film director through a political lens, answering questions about subjectivity, objectivity and political commentary in modes of filmmaking.
Examines the works of a noted Italian film director through a political lens, answering questions about subjectivity, objectivity and political commentary in modes of filmmaking.
Religion has had been foundational in shaping Italy. Home to the Vatican State, the Italian peninsula is the religious centre for one billion Catholics globally. It is also increasingly home to those of other faiths, especially Islam. Italy’s development as a contemporary post-secular and multi-religious society is fraught and fascinating. The recent resurgence of religious discourse is a sign of what German philosopher, Jürgen Habermas, has defined as the post-secular condition. Habermas and others have questioned what most people in the West had, up to a few years ago, taken for granted: the unstoppable forward march of secularization and the subsequent marginalization of religion. Instead, one of the greatest global fault-lines in the contemporary world – the divide between absolutist, extremist Islamic faith and liberal, but Christian-inflected, secular values – has religious identity at its core. The first book-length study to examine religion in contemporary Italian cinema and television, Screening Religions in Italy spans genres such as horror, comedy, hagiopics, and TV fiction, and explores both commercial and art-house filmmaking. In a discussion of films and television series that range from Moretti’s Habemus Papam to Sorrentino’s The Young Pope, the author identifies two key issues: how Italian filmmaking constructs the continuing position of religion in the public sphere and why religion persists on Italian screens.
It is impossible to say just what I mean!' Prufrock's frustration in Eliot's celebrated poem underlines the pessimistic view of language at the heart of much Modernist poetry. Locating the greatest Italian poet of the twentieth century, Eugenio Montale, firmly within European Modernism, thisbook examines the struggle with language that is central to his work. What can a poet do when words fail him? Does he put down his pen, retreat into silence? Does he seek instead to push language towards its limits, and, if so, what tools can he employ? What part does metaphor, the via negativa,allusive or understated writing have in this process? These are just some of the issues that Clodagh J. Brook seeks to address. In its unravelling of the inexpressibility paradox, her book offers a new reading of Montale's early verse, and reveals how in articles and metapoetic comments Montalegives us insights into both his poetics and the whole process of expression.
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