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This handbook for teachers of Italian consists of a collection of 16 essays by noted professionals in the field of Italian instruction: (1) "Fundamentals of Language Learning and Language Instruction," by A. Papalia; (2) "Linguistic Methodology and the Teacher of Italian," by R.J. Di Pietro; (3) "Preparation for Language Teaching," by F.J. Bosco; (4) "Developing Communication Skills," by F.J. Bosco and R.J. Di Pietro; (5) "The Reading Program and Oral Practice," by A.S. Mollica; (6) "Developing Cultural Understanding," by J.A. Tursi; (7) "Cartoons in the Language Classroom," by A.S. Mollica; (8) "Testing for Mastery," by J.A. Boyd; (9) "The Teaching of Italian Literature," by O. Ragusa; (10) "Teaching Italian Film," by P.E. Bondanella; (11) "Thematic Approach in the Italian Program," by R.J. Trivelli; (12) "Teaching Standard Italian to Students with Dialect Backgrounds," by M. Danesi; (13) "Italian and the Community," by S.B. Chandler; (14) "The Italian Experience in America," by R.F. Harney; (15) "Where to Earn a Degree in Italian," by E.A. Lebano; and (16) "Resource Materials for the Teaching of Italian," by A. Dente and A.S. Mollica. (AM)

The article provides information on the legacy of Attars poetry, in which its writings originated in the Persian Sufi poetry. Its concepts are considered as incompatible since the origin of love poetry and ascetic mysticism. Also, it was emphasizes that it may not be attained without the popularity and prevalence in Italian literature, as it could be argued into radical and innovative uses. An overview on four approaches to Attar poetry is also offered.

A subject index for the book "Dante and the Origins of Italian Literary Culture," by Teodolinda Barolini is presented.

References for the book "Dante and the Origins of Italian Literary Culture," by Teodolinda Barolini are presented.

Chapter 16 of the book "Dante and the Origins of Italian Literary Culture," by Teodolinda Barolini is presented. It states that a broader intellectual context is needed for sustained analysis of gender in medieval Italian literature. It notes that the fictional character Beatrice from poet Dante Alighieri is considered by the latter as an allegory for illuminating grace.

Chapter 11 of the book "Dante and the Origins of Italian Literary Culture," by Teodolinda Barolini is presented. It states that poet Giovanni Boccaccio has created the poem "Decameron" as a dedication to the generosity of his friends. It mentions that the experience of living is palliated by generosity and gratitude.

Chapter 7 of the book "Dante and the Origins of Italian Literary Culture," by Teodolinda Barolini is presented. It states that the construction by poet Dante Alighieri of situations to reveal the incredibility of precursor texts has allowed him to secure credibility of his text. It notes that a narrative assent has been achieved by Alighieri in his differentiation of his poetry from that of his predecessors.

An introduction to the book "Dante and the Origins of Italian Literary Culture," by Teodolinda Barolini is presented.

Presents “THE SARACEN FRIENDS” from the book “Stories from the Italian Poets: With Lives of the Writers, Volume 2” by Hunt, Leigh, 1784-1859.

Presents “TANCRED AND CLORINDA” from the book “Stories from the Italian Poets: With Lives of the Writers, Volume 2” by Hunt, Leigh, 1784-1859.

Presents “OLINDO AND SOPHRONIA” from the book “Stories from the Italian Poets: With Lives of the Writers, Volume 2” by Hunt, Leigh, 1784-1859.

Presents “RINALDO AND ARMIDA: WITH THE ADVENTURES OF THE ENCHANTED FOREST” from the book “Stories from the Italian Poets: With Lives of the Writers, Volume 2” by Hunt, Leigh, 1784-1859.

Presents “APPENDIX” from the book “Stories from the Italian Poets: With Lives of the Writers, Volume 2” by Hunt, Leigh, 1784-1859.

Presents “THE DEATH OF AGRICAN” from the book “Stories from the Italian Poets: With Lives of the Writers, Volume 2” by Hunt, Leigh, 1784-1859.

Presents “TASSO: Critical Notice of his Life and Genius” from the book “Stories from the Italian Poets: With Lives of the Writers, Volume 2” by Hunt, Leigh, 1784-1859.

Presents “ARIODANTE AND GINEVRA” from the book “Stories from the Italian Poets: With Lives of the Writers, Volume 2” by Hunt, Leigh, 1784-1859.

Presents “SUSPICION” from the book “Stories from the Italian Poets: With Lives of the Writers, Volume 2” by Hunt, Leigh, 1784-1859.

Presents “ASTOLFO'S JOURNEY TO THE MOON” from the book “Stories from the Italian Poets: With Lives of the Writers, Volume 2” by Hunt, Leigh, 1784-1859.

Presents “THE ADVENTURES OF ANGELICA” from the book “Stories from the Italian Poets: With Lives of the Writers, Volume 2” by Hunt, Leigh, 1784-1859.

Presents “SEEING AND BELIEVING” from the book “Stories from the Italian Poets: With Lives of the Writers, Volume 2” by Hunt, Leigh, 1784-1859.

Presents “ARIOSTO: Critical Notice of his Life and Genius” from the book “Stories from the Italian Poets: With Lives of the Writers, Volume 2” by Hunt, Leigh, 1784-1859.

Presents "BOIARDO: Critical Notice of his Life and Genius" from the book "Stories from the Italian Poets: With Lives of the Writers, Volume 2" by Hunt, Leigh, 1784-1859.

An author index for the book "British Romanticism and Italian Literature: Translating, Reviewing Rewriting" is presented.

Embodying freedom of expression in art and life, the figure of the Italian improvvisatrice exerted an important influence on British women writers of the Romantic period. Extemporaneous authors such as Teresa Bandettini, Fortunata Sulgher Fantastici and her daughter Massimina, and Corilla Olimpica were celebrated in Italy, as well as in Britain, for their public performances and opened up new expressive possibilities for contemporary women writers. This essay examines the phenomenon of the Italian improvvisatrici as models for British women writers, and thus as an important source for the development of a female Romanticism in British literature. An initial reconstruction of the distinctive features of this popular figure in the Italian tradition provides an introduction to its diffusion in British culture, where it flourished in narrative and fictional forms, rather than in practice. The differences, as well as the contacts, between the Italian and British traditions will be highlighted through references to the figures of Corilla Olimpica, the inspiration for Madame de Staël's Corinne, and Letitia Elizabeth Landon, who often represented improvvisatrici in her poems, and whose methods of composition were frequently compared with those of an extempore poet. [ABSTRACT FROM AUTHOR]

This essay examines the roots of Percy Bysshe Shelley's poetical formation in the light of his familiarity with the Italian literary tradition. It is a well-known fact that he was deeply interested in Italian culture and letters, and was a careful reader and interpreter of many Italian authors who contributed, through a multifaceted intertextual patterning, to define some of the fundamental paths of his lyrical compositions and poetics. This is especially evident if we focus on his relations with stil novo traditions, with the models of Guido Cavalcanti and, especially, Dante. And yet, equally important, and perhaps deserving an entirely new approach, is Shelley's link with Petrarch, and not just the familiar poet of the Canzoniere, but also the meditative and anguished Petrarch of his Latin works, and the visionary Petrarch of the Trionfi; as well as Shelley's knowledge of the poetry of the Italian Humanists (in particular, their Latin poetry) and of their reinterpretations of some of the classics. The essay stresses the crucial link between this secular Humanist tradition and some of the essential ideas of Romantic poetics, especially Shelley's important discussion of the poet's central role within processes of the formation of knowledge and the imaginative elaboration of reality. [ABSTRACT FROM AUTHOR]

A chapter of the book "British Romanticism and Italian Literature: Translating, Reviewing, Rewriting" is presented. It discusses how British Romantic writers approached Italian literature and culture. It also examines the link between canon formation and the rise of British nationalism, as emphasized by historicist and cultural-materialist approaches.

An introduction to the book "Petrarch's Canzoniere in the English Renaissance" is presented, wherein the author discusses the engagement of Geoffrey Chaucer with Italian literature, the "Canticus Troili" as an example of Petrarchan translation, and the spread of Petrarchism.

Chapter 10 of the book 'Shining Eyes, Cruel Fortune: The Lives and Loves of Italian Renaissance Women Poets' is presented. The chapter profiles Tarquinia Molza, an Italian poet. She was a recipient of honorary Roman citizenship from the Roman Senate in recognition of her outstanding literary and musical achievements. She married Paolo Porrini, who even encouraged her studies. She became encyclopedically learned, and both she and her husband became main characters in Francesco Patrizi's dialogue in four parts, L'amorosa filosofia, where Aristotelian and Platonic views of love are discussed.

Chapter 11 of the book 'Shining Eyes, Cruel Fortune: The Lives and Loves of Italian Renaissance Women Poets' is presented. The chapter profiles Veronica Franca, an Italian poet. She was born in 1546, daughter of Francesco Francho and Paula Fracassa. She was the daughter of a courtesan and she was candid about the miseries of a courtesan's life. She consorted with important Venetian patricians who provided her with income and protection. In her poetry, her approach was generally realistic, perhaps in response to Pietro Aretino's style.

A preface of the book "The Poetry and Selected Prose of Camillo Sbarbaro" is presented.

The article presents a definition of the term ITALIAN PROSODY. At its beginnings in the 13th c., It. poetry (q.v.) imitated many of the themes and forms of the earlier trads. of Occitan and Fr. poetry (qq.v.). Med. Lat. rhythmical verse also exerted a strong formal influence on many of the nascent vernacular lyrical modes in Italy. In addition to his preeminence as Italy's leading poet, Dante Alighieri was the first among many well known theoreticians of prosody.

The article presents a definition of the term ITALIAN POETRY. The Middle Ages, from the fall of the Roman Empire to the 1300s, were long regarded as merely an epoch of barbarism. Modern historiography, however, has rediscovered the period from Charlemagne to the birth of the Romance vernacular lits. as a time of fervent incubation, a preparation for the cultural rebirth of the 13th and 14th cs.

The article focuses on the works of Sicilian poet Giovanni Meli. Meli is considered as the most accomplished poet who ever wrote in Sicilian. Though the use of his native language made his poetry nearly inaccessible to a majority of Italians, still, Meli occupies a place of prominence among the Italian poets in the 18th century. Validation of Meli's specific place in the history of Italian literature is discussed. Information about his life as well as his known literary works are also presented.

The article focuses on the poem "Barunissa di Carini" whose fragments were collected by Salomone-Marino between 1867 and 1814. The poem is about an adulterous Renaissance noblewoman, Laura Lanza who was murdered by her own father. The poem is said to reflect a possible written folkloric material. "Di La Signura Laura Lanza Signura di Carini," a poem with the same subject as the "Barunissa," is presented. Its relation to Barunissa is also discussed.

The article focuses on the works of Italian poet Salvatore Di Giacomo. Di Giacomo is regarded as one of the greatest eclectic writers of his time. It is said that his literary strength lies in his poetic passion which is anchored on the themes of love, death,suffering, nature and God. Though the use of regional linguistic form have limited his poetry's formal expression, still, his poetic themes acquire a more vivid and spiritual reality. Several literary works of Di Gaicomo is also presented.

A chapter from the book "Enrico Annibale Butti: The Predicament of the Minor Writer" is presented. It states that the space Butti, an Italian author, has created between himself and his readers/audience shows his struggle to remain isolated. To him it seems as though public approval might corrupt the moral tone of his work. As claimed, his isolation allows him to maintain his illusion of moral superiority.

A chapter from the book "A Vocabulary Analysis of Gadda's Pasticciaccio" is presented. It explores Carlo Emilio Gadda's behavior with respect to the Italian literary tradition and his advocacy to liberate the Italian language from subservience to traditional imitation. It highlights the acknowledgement and integration of the Italian language in Gadda's literary works. Gadda believes imitation, not literary tradition, restricts artistic creativity.

The article discusses the influence of Italian literature on the dramatic plays of English author John Lyly. It notes that the general attribute of the English to the example of the Italian performance has been often acknowledged as much as the considerable and definite attribute of plays to the Italian poets. The author also mentions a book wherein the author has a very considerable acquaintance with early English dramatic work and which can be boasted with that of Italy.

Presents “ISABELLA” from the book “Stories from the Italian Poets: With Lives of the Writers, Volume 2” by Hunt, Leigh, 1784-1859.