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Questo contributo si prefigge di analizzare in un’ottica pragmatica gli atti di minaccia in sei commedie di Peppino De Filippo: Spacca il centesimo, Una persona fidata, La lettera di mammà, Le metamorfosi di un suonatore ambulante, Un suicidio collettivo e Tre poveri in campagna. Consultando la letteratura, ci siamo resi conto che non esistono studi italiani che indagano gli atti di minaccia né nel teatro né in un altro corpus, almeno per quanto è a nostra conoscenza. Questo contributo assume, quindi, un carattere esplorativo e si pone l’obiettivo di svelare le minacce nascoste nelle espressioni verbali e nei modi di fare dei personaggi delle commedie di Peppino De Filippo. Anche nelle frasi che non fanno subito pensare alla minaccia, si possono riscontrare elementi che non ne prescindono. Inoltre, viene calcolata la frequenza della distribuzione degli atti di minaccia a seconda della categoria diretta/indiretta e del sesso degli interlocutori per sapere se esistano differenze di comportamento tra i personaggi maschili e femminili nella minaccia. Nella conclusione si evidenziano i risultati della ricerca. The Speech Act of Threatening in the theater of Peppino De Filippo. Pragmatic study This contribution tends to analyze from a pragmatic perspective the Speech Act of Threatening in six comedies by Peppino De Filippo, which are Spacca il centesimo, Una persona fidata, La lettera di mammà, Le metamorfosi di un suonatore ambulante, Un suicidio collettivo and Tre poveri in campagna. Consulting the literature, we realized that there are no Italian studies investigating the Speech Act of Threatening either in the theater or in any other corpus, at least to the best of our knowledge. This contribution, therefore, takes on an exploratory character and aims to reveal the threats hidden in the verbal expressions and mannerisms of the characters in Peppino De Filippo's comedies. Even in phrases that do not immediately suggest threat, we can find elements that do not disregard it. In addition, we will calculate the frequency of the distribution of threatening acts according to the direct/indirect category and according to the gender of the interlocutors in order to find out whether there are differences in threatening behavior between male and female characters. The conclusion will highlight the results of the contribution.

Nella ricca produzione teatrale di Peppino De Filippo, per la quale alla luce dei recenti studi e rinvenimenti è auspicabile una nuova stagione filologica, vengono analizzate le riduzioni napoletane di Liolà e Lumie di Sicilia (LL'uva rosa) di Pirandello. Gli interventi di Peppino sul testo pirendelliano risultano finalizzati non solo all'adattamento degli ambienti alla realtà napoletana, ma soprattutto a una personalizzazione delle messinscena, che in particolar modo nella caratterizzazione dei personaggi risente della sensibilità e del vissuto umano dell'autore partenopeo. [ABSTRACT FROM AUTHOR]

Neapolitan comic actor and prolific author, he was famous with the name of Felice Sciosciammocca. He gained fame as a theatrical reformer for removing traditional masks. He is an essential, sometimes conflicting, reference point in the theatrical formation of his legitimate and illegitimate children: Domenico, Vincenzo, and Maria Scarpetta, as well as Titina, Eduardo, and Peppino De Filippo. [ABSTRACT FROM AUTHOR]

Few times in history the complex plots of dynastic politics would have ended up uniting two characters so radically different as Ferdinand and Marie Caroline. This profound difference in their character, together with the judgments produced by their political opponents during the Revolutionary period, would have contributed to build that stereotypical and caricatural vision, but also to consolidate the explanation of the political predominance of the Queen. This article investigates the true nature of the relations between the two sovereigns highlighting the real balances within the Neapolitan court. [ABSTRACT FROM AUTHOR]

Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek 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.)

In order to identify the concrete processes by which the complex machinery of the legal system operates, a focus on the narratives of law in popular culture can be useful. However, studying narrative poses a number of theoretical and methodological pitfalls. The aim of this paper is a return to Vincenzo Tomeo's half-century-old work The Judge on the Screen. The book is an excellent example of a sociologically careful and methodologically insightful use of fictional narrative sources such as films. It can be considered a classic of 'law and culture' studies and a forerunner of the 'law and cinema' movement. [ABSTRACT FROM AUTHOR]

This article analyzises how food was used in Fellini's films. The analysis is introduced by references to the early stories written by Fellini for Marc'Aurelio and to the dreams noted by the director in Il libro dei sogni. In films, food describes the social context (from the hunger represented in the films in the 1950s to the televised excesses of Ginger and Fred). Food also takes on symbolic meanings: hunger is also a need for love, the need to fill one's loneliness and the preparation of food is an expression of the desire to take care of others. In the article a periodisation of Fellini's filmography is proposed that distinguishes three phases: hunger, lack of appetite, and disgust. The examination of the presence of food suggests an interpretation of Fellini's oeuvre that is very far from the stereotypical image of his films widespread in large part of the public. [ABSTRACT FROM AUTHOR]

This article considers Federico Fellini's Le tentazioni del Dottor Antonio (1962), a fifty-minute episode in the omnibus Boccaccio '70. While sometimes praised for its aesthetic and stylistic significance, the film remains largely overlooked and is considered a 'bagatelle' or 'break' in Fellini's career. This article explores its valence as a promotional break between La dolce vita (1960) and 8 ½ (1963) and its overt thematisation of the mass image of advertising. Unpacking the film's ostensible superficiality, the discussion is not so much focused on praising its originality, but on highlighting its conceptual, thematic, and aesthetic entanglement with mimicry and imitation. For the film not only addresses the mass image of advertising and the mimetic behaviour it relies on and encourages, but also itself enacts such mimetic behaviour in different ways. In so doing, it both taps into, and contributes to, contemporaneous concerns and debates about mass media and image culture. [ABSTRACT FROM AUTHOR]

During the 1950s, Italian film releases increased exponentially in Buenos Aires. This growth occurred not only as a result of the popularity of this type of cinematography around the world but also because of the interest that it produced in local spectators. In this article, I map a quantitative overview about the arrival of this category of cinema to Buenos Aires. Next, I focus on a key aspect: the reception of commedia all'italiana ('comedy Italian style'). Then, I delve into the kind of comedy in which the comedian occupies the centre of the mise en scène (as Totò or Alberto Sordi). The hypothesis that guides this article is that popular actors, both in Italian and Argentine films, constitute a key issue that allows one to see the continuity between both types of cinematography (through appropriations and reconfigurations of its procedures), as it also allows one to understand the way in which the represented worlds were projected to popular audiences. [ABSTRACT FROM AUTHOR]

Dante Alighieri, trough his Divine Comedy, has created images and situations that are constantly narrated and which are subject to countless metamorphoses, starting from the first public reading of the Comedy with Boccaccio and concluding with the most recent versions that are available on YouTube. A journey, that of Dante and his work, which has lasted for about seven hundred years and which saw the Florentine poet being associated with ideals of the Risorgimento, with the publication of the Comedy illustrated by Dorè, in the nascent cultural industry in the second half of the Nineteenth century, as well as with the creation of stories for the theater, cinema, radio, television, comics, video games, and advertising, for which Dante's work represents the main source of inspiration. A narrator who is constantly narrated and who will continue to narrate. [ABSTRACT FROM AUTHOR]

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The transnational flows of cultural capital generated by African American artists working in postwar Rome, with its thriving film industry and where many performers found ample work in the culture industries, remain largely unexamined. An exploration of the film Anna's Sin (1952), through its core cast members' careers and key scenes, demonstrates desegregationist and antifascist cultural work in the postwar Italian cinema and complicates divisions of high and popular culture. The film's active attempts at undoing binarisms of race, class, gender and culture--however incomplete--emerge from the period's mounting political struggles for greater social freedoms and mobilities. These dynamics play out on screen in a postwar Roman milieu but are inextricably wrapped up with the US Black freedom struggle. Through its main characters' lives, both on and off screen, Anna's Sin juxtaposes the struggles of racialized and gendered subjects. The film projects on screen new modes of relationality, particularly through its central interracial love story, presenting its viewers with new possibilities for seeing and being in the world. With an eye toward the then utopic horizon of the 1960s, such postwar filmic work made anticipatory claims upon its transnational audiences to imagine and to activate better, more expansive futures. [ABSTRACT FROM AUTHOR]

Copyright of Lletres Asturianes is the property of Academia de la Llingua Asturiana 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 offers a review on some Italian movies, from the postwar period to the present, in order to investigate the role of lawyers in the popular culture. The analysis highlights different types of lawyers, different ways of interpreting their role, as well as their relation with the judiciary system. The paper also shows a remarkable difference between the image of lawyering revealed by the Italian cinema and the prevalent one in US movies. [ABSTRACT FROM AUTHOR]

The aim of this contribution is to investigate the names of characters in the theatrical scripts of Neapolitan playwright Antonio Petito (1822-1876), which reflect an evolution from the working class theater of Pulcinella to its middle class equivalent. Antonio Petito expresses his critical position towards the new emerging middle class by means of various linguistic strategies, including the names of the characters. These names are examined in the original manuscripts as well as in the 'new' autograph scripts that are being edited, compared with the old prints and with references to the nineteenth-century lexicography for the Neapolitan dialect. The 'speaking names' are essentially used as a comic device and are functional to the misunderstandings and verbal gags of his social satire theater. The 'caricature names' are a rich series, some of which refer to musicians and players, with a parodic intent towards middle-class theater and the eighteenth-century panorama. The names related to each character and to his/her physical appearance are important, as are the various 'role-names'. On a linguistic level, I give some examples of epithet-names, some created starting from a dialect phraseological use that connotes the character, others deriving from a popular song. I then dwell on the strategies of verbal misunderstanding originating from a name and on the relationships between the name and the role of the characters, highlighting some constants relating to the roles and environment of the script. [ABSTRACT FROM AUTHOR]

The art of Totò (Antonio De Curtis) is characterized by a free and joyful creativity. He systematically breaks the rules of everyday life. His language is comic and paradoxical. His behaviours are irreverent and audacious. In all his acts the great actor presents himself as an expression of fantasy and playfulness, both of which ceaselessly give pleasure. [ABSTRACT FROM AUTHOR]

This paper explores the actorship of Italian comedian Totò, from a sociocultural perspective. We investigate its ability to subvert the rules and social customs, through the subversive gesture and the reinvention of the grammatical and lexical structures. The essay will reflect on the construction of an original actorship, built with high and low sources (Commedia dell'arte, Futurism, avanspettacolo, varietà, film parody). Toto undermines the hypocrisy of social conventions, by staging a series of strategies: deception and lies; the disarticulation of the body; the irreverence of the spoken word. [ABSTRACT FROM AUTHOR]

Copyright of Italica is the property of University of Illinois Press 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.)

Using the international career of the now largely forgotten African American star John Kitzmiller (1913-1965) as a test case, this article analyzes the discourse of Euro-American difference and uncovers continuities that this discourse obscures. Michigan-born Kitzmiller served in Italy during WWII as a military engineer before director Luigi Zampa cast him to play a black American soldier in the WWII drama Vivere in pace / To Live in Peace (1947). Convinced that European cinema offered him opportunities unavailable to black actors in Hollywood, Kitzmiller stayed in Italy and acted in several more films. I suggest that an examination of Kitzmiller's life and film presence sheds light on the cultural history of the North Atlantic borderland, on the relation between European cinema and Hollywood cinema, and on the role racial hierarchies play in both. [ABSTRACT FROM AUTHOR]

This article analyzes the performances of Eritrean actress Zeudi Araya in her middlebrow comedies from the late 1970s. I interpret her popularity in parallel with the incipient and coterminous immigration of women to Italy, from the former colonies of the Horn of Africa as well as from other developing countries, who provided informal welfare for the modernizing Italian family and partially substituted for Italian women's double presence inside and outside the home. Il signor Robinson (Corbucci 1976) and Tesoromio (Paradisi 1979), in which Araya plays a domestic worker, include performances of whiteface, blackface, and mistaken identities between Italian and foreign characters. This racial masquerade inscribes the black immigrant woman within adulterous romances in which Araya's exotic and submissive characters substitute for the emancipated white woman in the Italian family. The substitution simultaneously works to recall the colonial figure of the docile Black Venus while also restoring the sexual potency of the male inetto, a stock character from the Italian comic tradition. Further, these romances are framed within a geographical dichotomy of inclusion in private spaces and exclusion from public spaces. Araya's characters either are entrapped within the intimate space of the Italian home or, when they appear in public, are located outside Italian national borders, in an escapist elsewhere such as the Caribbean or the imaginary island of Balicù. As this elsewhere is detached from any immediate references to the history of Italian colonialism, Araya's comedies can draw from the colonial repertoire of images and visual tropes while disavowing any ideological engagement with that legacy. [ABSTRACT FROM AUTHOR]

The article briefly outlines the history behind the Fondo Manoscritti collection of the University of Pavia, created by Maria Corti in 1973, and one of the most important Italian literary archives. Since 1980, the collection has been managed by the Centro di ricerca sulla tradizione manoscritta di autori moderni e contemporanei research centre, entrusted with the overseeing, preservation and expansion of the rich collections of documentary material relating to writers from the last two centuries (manuscripts, typescripts, letters, first editions, photographs, drawings, paintings etc.). Alongside writer-related materials, documentation has also been acquired relating to academics, artists, scientists, publishers, and periodicals. In addition to the correspondence section, which is of particular historical importance, the centre possesses important book collections. The article provides a brief presentation of the centre'smain collections and activities, among which the publication of the periodical «Autografo». [ABSTRACT FROM AUTHOR]

An essay is presented on the effect of Italian and American film propaganda for the reconstruction of Italy between 1948 to 1950 in the age of neorealism. It offers how communication technology inspires Italian to participate in country's reconstruction, high standard productivity, and political stability. It also mentions that film propaganda helps government for the development of agricultural production, democratic regime establishment, and social welfare programs implementations.

The article discusses the idea of jettatura, a harmful magical power somewhat similar to the evil eye (malocchio) and fascination (fascino), in the Kingdom of Naples in Italy during the late eighteenth and early nineteenth centuries. It analyzes contemporaries' scientific ideas about jettatura and its practitioners, jettatore, commenting on the influence of ideas about medicine and physiognomy. The author comments that belief in the idea spread to the petty nobility and the upper middle class in the late eighteenth century. The writings of several Neapolitans are considered, including the jurist Nicola Valletta and Latin scholar Filippo De Martino.

The article focuses on the use of the Palazzo della Civilta Italiana for caustic and colorful social satire, philosophical musings on the human condition in postmodernity, radical adaptations of classical stage and futuristic predictions of resistance in the post-human condition. It states that the said edifice was featured in several motion pictures, such as "Titus," and "Equilibrium." It adds that the said building is part of the Esposizione Universale di Roma (EUR) complex.

The article reviews several Italian television programs including "Incantesimo," which was on a love affair between two staff members of a clinic, "Un posto al sole," starring Milly Buonanno, Marcia Gomes and Patrizio Rispo, and "Agrodolce," directed by Giovanni Minoli.

Naming celebrities from visual input (i.e., face presentation) was examined in 98 healthy participants. Normative data are provided both for a 12-and a 63-item test. The first one is a brief screening tool, while the latter is to be administered whenever a pathological performance turns out in the former. Age adversely affected both performances. In both tests the most frequent errors were no responses, followed by semantic errors. The study makes explicit reference to current serial models of familiar person processing and naming. Findings allow to complement previously reported testing procedures, with the specific aim of qualifying proper name anomia by identifying the cognitive locus of lesion. [ABSTRACT FROM AUTHOR]