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This paper analyses the political farces of Aragonese poets Jacopo Sannazzaro, Pier Antonio Caracciolo and Giosuè Capasso. The farces are examined with a focus on the themes of fame, Fortune, triumph and prophecy. After an analytical interpretation of what is left of the corpus, the article offers an interpretation of farces based on their main features. A comparison with other Aragonese works also underlines how the political and encomiastic component of the farces is typical of vernacular Neapolitan production as a whole. The article's interdisciplinary approach includes reflections on the history of the Kingdom, and of the theatre, aiming to draw attention to the rhetorical and literary strategies through which encomium is structured and gains legitimation, in defence and praise of the persons celebrated. [ABSTRACT FROM AUTHOR]

Copyright of International Review of Sociology (Series 1) 1954-1985 is the property of Carfax Publishing Company and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of International Review of Sociology (Series 1) 1954-1985 is the property of Carfax Publishing Company and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper is part of a research about collective movements and political participation of young people and students in Italy during 1977. At that time the Italian political scene was characterized by an explosion of collective violence and political protest both against the establishement and the political tine of the Communist Party. The problem is being approached from a sociology of the mass media view point, through an examination of the twenty most important Italian newspaper in the period from Febraury to May ,1977. The most relevant fact of this period was the attempt on the part of intellectuals to suggest various «explanations, by means of sociological, psychological and anthropological categories and concepts. «Suoh» explanations contribued to outline a «collective image» of the Movmment. This image built up a definition of the Movement as important as the image that the Movement tried to give itself. The«collective image» is introduced by (i) the social and political groups representative of the Movement, (ii) the aspects of collective action used for describing the Movement, and (iii) the casual categories accounting for a explanation of the Movement. According to this analysis, the explanatory of the Movement, its primum movens, is the concept of «crisis»: -- crisis of the economic system; -- crisis of consensus in the political system; -- crisis of continuity in the socialisation processes; -- crisis of legitimacy in the normative system; -- crisis of Culture. Beside the idea of crisis, and its being «visible» through insurrection, rebellion, anger, the image of the Movement is related to a «social representation, of youth, as irresponsible, frustrated, marginal, rejected, hopeless. Such «representation, is necessary precondition for any project aimed at restoring the social order to become credible. [ABSTRACT FROM AUTHOR]

Copyright of International Review of Sociology (Series 1) 1954-1985 is the property of Carfax Publishing Company and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Antonio Fogazzaro (1842-1911) fu uno degli scrittori italiani più apprezzati all’estero. Per capire il successo mondiale dell’opera fogazzariana bisogna comprendere la trasformazione del sistema editoriale nonché della tipologia di pubblico a cui il genere romanzesco si rivolgeva in quegli anni. I romanzi fogazzariani furono tradotti nei paesi anglosassoni (Inghilterra, Stati Uniti e Canada) tanto da case editrici con interessi cosmopoliti, quanto da firm specializzatesi in pubblicazioni a tema religioso. L’articolo è inframmezzato dai passaggi più significativi delle lettere (in buona parte inedite) inviate da editori, traduttori e mediatori culturali al Fogazzaro e attestanti la diffusione e la fortuna editoriale dell’opera fogazzariana nei paesi anglosassoni. La seconda parte del saggio è dedicata a una disamina della ricezione da parte della critica americana dei romanzi fogazzariani. L’ultima parte analizza alcuni caratteri comuni tra il romanzo fogazzariano ed il novel inglese attraverso la comparazione con alcune opere di Charles Dickens e Wilkie Collins. [ABSTRACT FROM AUTHOR]

Copyright of Italianist is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Il saggio si propone di offrire un primo esame degli Hymni Heroici di Gianfrancesco Pico della Mirandola mettendo in evidenza da un lato la relazione tra la scrittura in versi e le opere filosofiche dell'autore, e dall'altro il rapporto tra questo progetto letterario ed il contesto intellettuale del primo Cinquecento. Attraverso una lettura degli inni e dell'apparato esegetico con cui Gianfrancesco Pico volle accompagnare i suoi componimenti poetici, più precisamente, si indicheranno i possibili obiettivi polemici dell'autore. In particolare, il saggio sottolinea i sospetti che l'autore nutriva nei confronti della riabilitazione dell'inno orfico in chiave Neoplatonica praticata da alcuni suoi contemporanei. Interpretando l'opera del Mirandolano alla luce del recente dibattito sul pluralismo religioso rinascimentale, pertanto, il saggio dimostra come gli Hymni Heroici consentono di intravedere il delinearsi di un'identità religiosa che, lungi dall'essere semplicemente cristiana, è in realtà il risultato di un attento esame di correnti intellettuali e spirituali disponibili al tempo dell'autore. [ABSTRACT FROM AUTHOR]