Contents: Introduction Revising the Canon: Italian Women Writers/Maria O. Marotti Part I: Canon Formation/Canon Revision Women Writers and the Canon in Contemporary Italy/JoAnn Cannon From One Closet to Another? Feminism, Literary Archaeology, and the Canon/Beverly Allen Italian "Difference Theory" A New Canon?/Renate Holub Part II: Renaissance Women: Rethinking the Canon Renaissance Women Defending Women: Arguments Against Patriarchy/Constance Jordan Selling the Self, or the Epistolary Production of Renaissance Courtesans/Fiora A. Bassanese Part III: At the Turn of the Century: Women Writers at the Margins of the Canon Double Marginality: Matilde Serao and the Politics of Ambiguity/Nancy Harrowitz The Diaries of Sibilla Aleramo: Constructing Female Subjectivity/Bernadette Luciano Narrative Voice and the Regional Experience: Redefining Female Images in the Works of Maria Messina/Elise Magistro Part IV: Contemporary Women Writers: Toward a New Canon Brushing Benjamin Against the Grain: Elsa Morante and the "Jetzeit" of Marginal History/Maurizia Boscagli From Genealogy to Gynealogy and Beyond: Fausta Cialente's Le Quattro Ragazze Wieselberger/Graziella Parati Ethnic Matriarchy: Fabrizia Ramondino's Neapolitan World/Maria Ornella Marotti Mythic Revisionism: Women Poets and Philosophers in Italy Today/Lucia Re Part V: Women as Filmmakers: Images of Women/Images by Women/Images for Women Monica Vitti: The Image and the Word/Marga Cottino-Jones Signifying the Holocaust: Liliana Cavani's Portiere di notte/Marguerite Waller Maria Ornella Marotti is a lecturer in Italian at the University of California, Santa Barbara. She is the author of The Duplicating Imagination: Twain and the Twain Papers (Penn State, 1990).
Railing, Reviling, and Invective in English Literary Culture, 1588-1617 is the first book to consider railing plays and pamphlets as participating in a coherent literary movement that dominated much of the English literary landscape during the late Elizabethan/early Jacobean period. Author Prendergast considers how these crisis-ridden texts on religious, gender, and aesthetic controversies were encouraged and supported by the emergence of the professional theater and print pamphlets. She argues that railing texts by Shakespeare, Nashe, Jonson, Jane Anger and others became sites for articulating anxious emotions-including fears about the stability of England after the death of Queen Elizabeth and the increasing factional splits between Protestant groups. But, given that railings about religious and political matters often led to censorship or even death, most railing writers chose to circumvent such possible repercussions by railing against unconventional gender identity, perverse sexual proclivities, and controversial aesthetics. In the process, Prendergast argues, railers shaped an anti-aesthetics that was itself dependent on the very expressions of perverse gender and sexuality that they discursively condemned, an aesthetics that created a conceptual third space in which bitter enemies-male or female, conformist or nonconformist-could bond by engaging in collaborative experiments with dialogical invective. By considering a literary mode of articulation that vehemently counters dominant literary discourse, this book changes the way that we look at late Elizabethan and early Jacobean literature, as it associates works that have been studied in isolation from each other with a larger, coherent literary movement.
Explores why some early modern writers put their masculine literary authority at risk by writing from the perspective of femininity and effeminacy. The text argues that such work promoted alternatives to the dominant patriarchal aesthetics by celebrating unruly female and effeminate male bodies.
This book is about the Renaissance revitalization of classical drama. Using a cultural and theatrical approach, it shows how Italian playwrights made ancient tragedy relevant to their audiences. The book challenges the traditional critical approach to the Italian Renaissance tragedy as a mere literary work, and calls attention to the complementary function of the theatrical text, which is 'reconstructed' from the stage directions embedded in the discourse of the characters.
Have you ever wondered what makes the Mediterranean diet so healthy? Do you enjoy olives, tomatoes, Chouriço and Mozzarella, basil, rosemary and oregano, grapes, figs, and dates; and would you like to learn more about the substances they contain? Then this book is for you! The Mediterranean diet, designated as an ‘Intangible Cultural Heritage of Humanity’, has a reputation of being particularly beneficial to your health and for reducing the risk of diseases like cardiovascular disorders. Read this book to find out which chemical compounds contribute to these health benefits. Typical ingredients of the Mediterranean diet include olive oils, fresh and dried vegetables and fruits, cereals, moderate amounts of fish, dairy and meat, and various condiments and spices, typically accompanied by wine and infusions. The book will introduce you to the most typical ingredients, providing information about their use in Mediterranean cuisine and explaining more about the healthy substances they contain – from their chemistry to their occurrence in the foods and the resulting intake. Summarizing important facts and data from available scientific literature, this book even gives recommendations for guidelines to a healthy diet – guidelines that are becoming more and more important. In recent years, it has been observed that nutritional habits in the geographical area have started to deviate further and further away from the typical Mediterranean nutritional pattern, representing an alarming trend that this book also critically addresses, since the WHO has reported increases in obesity and malnutrition in the Mediterranean area. Illustrations of important chemical compound structures, as well as appetizing photos of select ingredients for Mediterranean dishes, accompany the text.
The theatre of the Italian Renaissance was directly inspired by the classical stage of Greece and Rome, and many have argued that the former imitated the latter without developing a new theatre tradition. In this book, Salvatore DiMaria investigates aspects of innovation that made Italian Renaissance stage a modern, original theatre in its own right. He provides important evidence for creative imitation at work by comparing sources and imitations incuding Machiavelli's Mandragola and Clizia, Cecchi's Assiuolo, Groto's Emilia, and Dolce's Marianna and highlighting source elements that these playwrights chose to adopt, modify, or omit entirely. DiMaria delves into how playwrights not only brought inventive new dramaturgical methods to the genre, but also incorporated significant aspects of the morals and aesthetic preferences familiar to contemporary spectators into their works. By proposing the theatre of the Italian Renaissance as a poetic window into the living realities of sixteenth-century Italy, he provides a fresh approach to reading the works of this period.
“The sun was setting, the asphalt still burning. In Via Castaldo, near the train station, three girls were chatting and giggling, holding each other’s arms, their faces still childish...” Cristina is dreaming, reliving the first time she and her husband met fifteen years before. But what should have been a happy marriage turns out to be a repository of lies the day that Cristina, thanks to a clever trap, discovers her husband’s betrayals. The love between Elena and Roberto is the reverse of the same coin. The age difference between the two, their family tie, and the passion that fuels their relationship are the backdrop to their relationship. In a background of great loves, betrayals, and infatuation, a crime takes place at the hand of a far-reaching villain which will turn all the characters’ lives upside down and force them to invent a new future for themselves and seek temporary shelter overseas. Will Elena and Cristina be able to fulfill their dreams and find peace in their hearts?
This book moves from the circumstance whereby currently the obligation to provide fair and equitable treatment (FET) to foreign investments is included in the majority of international investment agreements and has proved to be the most invoked standard in investor-State arbitration. Hence, it is no overstatement to describe this standard as the basic norm of international investment law. Yet both its meaning and normative basis continue to be shrouded in ambiguity and, as a consequence, to inspire a considerable number of interpretations by legal writers. The book's precise aim is to unravel such ambiguity, arguing from the idea that FET has become part of the fabric of general international law, but has done so by means of a source somewhat neglected in legal doctrine. This being the category of general principles peculiar to a certain field of international law, i.e. those principles having their own foundations in the international legal order itself, but which, through the mediation of the judge, end up being shaped according to the features typical of a specific normative field. The book, as well as having a solid theoretical backdrop as its basis, offers a careful and critical analysis of pertinent case law, and will prove useful to both scholars and practitioners. Fulvio Maria Palombino is Professor of International Law at the Law Department of the University of Naples Federico II and a member of the Executive Board of the European Society of International Law. Specific to this book: • Explains the ICSID practice clearly and concisely • Useful in practical terms Excerpts from a review: ‘Fair and Equitable Treatment and the Fabric of General Principles’ is an original and well researched book, in which the author challenges a number of conventional wisdoms on FET.Among the strengths of the book one can mention the solid discussion of public international law principles relevant to FET and the interesting incursions into domestic law legal systems which play an important role in the understanding of FET components such as due process, legitimate expectations or proportionality. In particular the section on promises provides a convincing analysis of the issues that arise when the administration makes an assurance or representation to an investor. Against the backdrop of the examination of unilateral acts under public international law, Palombino’s analysis sheds new light on what ought to be the proper scope of protection under the legitimate expectations doctrine in case of governmental promises, clarifying a number of points which have received insufficient attention by arbitral tribunals thus far. - Michele Potestà, Attorney with Lévy Kaufmann-Kohler, Geneva; Senior Researcher, Geneva Center for International Dispute Settlement (CIDS) book review in International and Comparative Law Quarterly, (2018) 67(4), 1036-1037. For the full review, see: https://doi.org/10.1017/S0020589318000246
Ten stories of impoverished Sicilian women in the early 20th century—“honed, polished, devastatingly direct . . . verismo at its unsentimental best” (Kirkus Reviews). The Sicilian writer Maria Messina’s captivating and brutal stories of the women of her home island are presented in a “lyrical and immediate” English translation by Elise Magistro (Publishers Weekly). Messina, who died in 1944, was the foremost female practitioner of verismo—the Italian literary realism pioneered by fellow Sicilian Giovanni Verga. Published between 1908 and 1928, Messina’s fiction represents the massive Sicilian immigration to America occurring at that time. The individuals in these stories are caught between the traditions they respect and a desire to move beyond them. Women are shuttered in their houses, virtual servants to their families, left behind while working men immigrate to the United States in fortune-seeking droves. A cultural album that captures the lives of peasant, working-class, and middle-class women, “Messina’s words will leave their mark. Their power makes them impossible to forget” (The Philadelphia Inquirer).
Re-Presenting 'Jane' Shore analyzes the representation of the mistress of Edward IV of England, known to us as 'Jane' Shore (c. 1445-c. 1527). The daughter of a well-to-do merchant, she left her merchant husband to become the king's concubine. After Edward's death, his brother, later Richard III, charged her with witchcraft and harlotry, prompting Thomas More to include her in his exposition of Richard's perfidies in The History of Richard III. Since then, Jane Shore has been a frequent subject of, among others, poets (Thomas Churchyard and Thomas Deloney), playwrights (Shakespeare and Nicholas Rowe), and novelists (Guy Padget and Jean Plaidy). Scott examines the anxiety in Anglo-American culture generated when sex and politics intersect, using the case of 'Jane' Shore to show how history is compromised and complicated by context. In doing so, she reveals how women continue to be deployed as symbols rather than as actors on the larger stage of the drama that is politics.
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