Poet, novelist, theorist, playwright, translator, politician, and teacher, Edoardo Sanguineti (1930-2010) is one of the most original and influential Italian intellectuals of the second post-war period. An ardent and unremitting historical materialist, he investigated the links between language and ideology, literature and the other arts, together with their functions within the logic of late capitalism. The extraordinary range of his creative work persistently defies conventional aesthetic notions. With their variety of topics and critical perspectives, the essays assembled in this volume explore both the relevance of his theoretical postures and the ideological and formal fabric of his literary production. They highlight his subversive objectives, the complexity of the language, the astonishing linguistic ingenuity, metaliterary significance, whimsical disposition, and provocative social critique. Testimonials by Sanguineti's colleagues and students, presented here in English translation, offer a portrait of the man, his temperament and his distinctiveness, and provide a personal view of the life and work of a brilliant intellectual.
The debate on literature and the arts provoked by the Italian neoavant-garde (neoavanguardia) is undoubtedly one of the most animated and controversial the country has witnessed from World War II to the present. Comprising the period between the late 1950s and the late 1960s, the phenomenon of the neoavanguardia involved key writers, critics, and artists, both as insiders - Sanguineti, Balestrini, Guglielmi, Eco, and others - and adversaries such as Pasolini, Calvino, and Moravia. In The New Avant-Garde in Italy - the first book in English to document the movement - John Picchione's objective is twofold: to provide a comprehensive analysis of the theoretical tenets that inform the works of the neoavanguardia and to show how they are applied to the poetic practices of its authors. The neoavanguardia cannot, Picchione argues, be defined as a movement with a unified program expressed in the form of manifestos or shared theoretical principles. It experiences irreconcilable internal conflicts that are explored as a split between two main blocs - one that is tied to the project of modernity, the other to post-modern aesthetic postures. This study suggests that some of the contentious views proposed by the neoavanguardia anticipated a wide range of issues that continue to be significant and pressing to this day.
The debate on literature and the arts provoked by the Italian neoavant-garde (neoavanguardia) is undoubtedly one of the most animated and controversial the country has witnessed from World War II to the present. Comprising the period between the late 1950s and the late 1960s, the phenomenon of the neoavanguardia involved key writers, critics, and artists, both as insiders - Sanguineti, Balestrini, Guglielmi, Eco, and others - and adversaries such as Pasolini, Calvino, and Moravia. In The New Avant-Garde in Italy - the first book in English to document the movement - John Picchione's objective is twofold: to provide a comprehensive analysis of the theoretical tenets that inform the works of the neoavanguardia and to show how they are applied to the poetic practices of its authors. The neoavanguardia cannot, Picchione argues, be defined as a movement with a unified program expressed in the form of manifestos or shared theoretical principles. It experiences irreconcilable internal conflicts that are explored as a split between two main blocs - one that is tied to the project of modernity, the other to post-modern aesthetic postures. This study suggests that some of the contentious views proposed by the neoavanguardia anticipated a wide range of issues that continue to be significant and pressing to this day.
Poet, novelist, theorist, playwright, translator, politician, and teacher, Edoardo Sanguineti (1930-2010) is one of the most original and influential Italian intellectuals of the second post-war period. An ardent and unremitting historical materialist, he investigated the links between language and ideology, literature and the other arts, together with their functions within the logic of late capitalism. The extraordinary range of his creative work persistently defies conventional aesthetic notions. With their variety of topics and critical perspectives, the essays assembled in this volume explore both the relevance of his theoretical postures and the ideological and formal fabric of his literary production. They highlight his subversive objectives, the complexity of the language, the astonishing linguistic ingenuity, metaliterary significance, whimsical disposition, and provocative social critique. Testimonials by Sanguineti's colleagues and students, presented here in English translation, offer a portrait of the man, his temperament and his distinctiveness, and provide a personal view of the life and work of a brilliant intellectual.
A Worlde of Wordes, the first-ever comprehensive Italian-English dictionary, was published in 1598 by John Florio. One of the most prominent linguists and educators in Elizabethan England, Florio was greatly responsible for the spreading of Italian letters and culture throughout educated English society. Especially important was Florio's dictionary, which thanks to its exuberant wealth of English definitions made it initially possible for English readers to access Italy's rich Renaissance literary and scientific culture. Award-winning author Hermann W. Haller has prepared the first critical edition of A Worlde of Wordes, which features 46,000 Italian entries among them dialect forms, erotic terminology, colloquial phrases, and proverbs of the Italian language. Haller reveals Florio as a brilliant English translator and creative writer, as well as a grammarian and language teacher. His helpful critical commentary highlights Florio's love of words and his life-long dedication to promoting Italian language and culture abroad.
John Florio (1553-1625), known in Italian as Giovanni Florio [dʒoˈvanni ˈflɔːrjo], was a linguist and lexicographer, a royal language tutor at the Court of James I, and a possible friend and influence on William Shakespeare. He was also the first translator of Montaigne into English. He was born in London, and in 1580 he married Aline, the sister of poet Samuel Daniel. The couple had three children, Joane Florio, baptised in Oxford in 1585; Edward, in 1588 and Elizabeth, in 1589. He died in Fulham, London in 1625. His Italian and English dictionary, entitled A World of Words, was published in folio in 1598. After the accession of James I, Florio was named French and Italian tutor to Prince Henry and afterwards became a gentleman of the privy chamber and Clerk of the Closet to the Queen Consort Anne of Denmark, whom he also instructed in languages. A substantially expanded version of A World of Words was published in 1611 as Queen Anna's New World of Words, or Dictionarie of the Italian and English.
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