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The article explores various forms of commemoration for poets and friends, including iconographical, literary, and linguistic monuments, as depicted in poet John Milton's poem "Mansus." It discusses the material significance of phrases like "Angelus ipse fores," potentially alluding to Italian scholar Giovanni Battista Manso's chapel in St. Angelo a Foro, Italy where he erected a marble cenotaph and bronze bust in honor of Marino.

The article explores how biography can immortalize individuals, examining Latin elegiac poem "Mansus," by John Milton which incorporates brief biographies of Italian scholar Giovanni Battista Manso, poet Torquato Tasso, and Milton himself. It highlights the atypical headnote in the poem, which serves as a biography of Manso, summarizing his reputation and accomplishments. It discusses Manso's role in supporting Tasso's literary productivity, drawing on the Neapolitan landscape.

The article delves into the book "Poesie Nomiche di Gio. Battista Manso..." the second volume gifted by scholar Giovanni Battista Manso to poet John Milton, which comprises Manso's Italian poetry organized into three sections. It reflects both Manso's youthful compositions and his mature reflections, showcasing his evolution as a poet up to year of publication, 1635. It illustrates Manso's versatility and scholarly acclaim, receiving praise both from contemporary academics and modern critics.

The article explores English poet John Milton's unique reading practices during his stay in Naples, Italy focusing on his immersion in academic and literary treasures facilitated by his contact with entrepreneur Giovanni Battista Manso. Milton's avid reading habits in Italy are evidenced by his interactions with Italian scholars and his incorporation of Italian literary themes into his own compositions, showcasing his deep engagement with the cultural and scholarly communities of Italy.

Giuseppe Palmisano's book, "Contributo allo studio giuridico dei metodi diplomatici per la soluzione delle controversie tra Stati," highlights the importance of diplomatic means in settling international disputes and serves as a research manual on the topic in Italian. The book provides a detailed analysis of negotiation, mediation, inquiry, and conciliation as methods of dispute settlement, drawing from Italian literature to offer theoretical and practical insights. While some of the referenced literature is dated and the writing style may be inaccessible to some readers, the book offers a comprehensive survey of treaty provisions and instruments related to diplomatic dispute settlement. It is a valuable resource for researchers and practitioners seeking to deepen their understanding of the topic. [Extracted from the article]

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature 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.)

Most critical studies on John Fante tend to insist exclusively on his Italianness putting into evidence his biographical experiences and Italian roots at the expense of the complex literary inheritance underlying his vocation. Through a reading of Ask the Dust, the present paper intends to propose a portrayal of the author as an authentically American voice who was fully aware of the great novelistic tradition that shaped his literary sensibility. At the same time, Fante's discovery of the novels of the Norwegian author Knut Hamsun, through the suggestion of the independent literary agent Elizabeth Nowell, shows how his development was based on a variety of influences that went beyond Italian literature and culture. Thus, Fante's indisputable originality lies precisely in his wide-raging vision and capacity to embrace diverse languages and cultures. [ABSTRACT FROM AUTHOR]

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro 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.)

The subject of this article is the translation work of the Italian writer Cristina Campo (born Vittoria Guerrini), one of the most prominent Italian writers of the 20th century, poet, translator, and essayist, analysed in a biographical key. The aim is to look more closely at Cristina Campo's biography -- described so far in the only biography book (De Stefano 2002), but also recorded in the voluminous correspondence the writer left behind -- through the framework of her translation activity. Of interest from this point of view become both her translation choices and reading choices ("the lovely kinsmen of the shelf," as the writer called her favourite books) -- related to a large extent to Campo's literary temperament, her experiences in her private life, and her friends -- as well as her choice of translation activity itself, largely conditioned by the need to spend a large part of her life in seclusion due to the incurable heart disease that Campo suffered from since her birth. An attempt will be made to answer the question of how illness and other life circumstances influenced her choice of translation activity, the selection of texts to be translated and the translator's actual working conditions. [ABSTRACT FROM AUTHOR]

The aim of this article is to deal with the disputable role Dalmatia played in the Croatian-Italian-Serbian borderlands, referring to the foremost Croatian and Yugoslav writer Miroslav Krleža. Although he is mostly associated with the Croatian North, i.e., historical Croatia-Slavonia, called sometimes the Panonian cultural complex, his engagement in the discourse of Dalmatia after World War Two cannot be underestimated. In the period 1950-1951 Krleža prepared two exhibitions of medieval art (one staged in Paris as L'art médiéval Yougoslave and the other in Zagreb as Zlato i srebro Zadra) and wrote two introductions to their catalogues. In them, he builds a concept of a separate "South Slavic civilisation" that "negates" the bipolarism of Roman-Byzantine competing cultural models (Slavia Romana vs. Slavia Orthodoxa, according to Picchio). Referring to the spatial approach to literature, I attempt to situate the post-war Yugoslav discourse, radically confrontational and militaristic, within historical antagonistic discourses (Croatian-Italian-Serbian). [ABSTRACT FROM AUTHOR]

This paper offers an account of Raffaella Carrà and Piero Ottone's 1986 interview with the worker Mario Varianti during the popular variety show Domenica In (Raiuno, 1976-). Giving special attention to its textual and contextual implications, the essay insists on the importance of the episode in recostructing the complex relationship between the Italian public service broadcaster (Rai) and labor issues (topics that rarely appear in the Italian literature of television studies). Furthermore, the purpose of this essay is to examine how, in the midst of the so-called "neotelevisione", this "case" seems to anticipate the technical-linguistic transformations of the TV medium, which will soon lead to what was subsequently called "TV-verità" for its intent to reconcile the entertainment with political talk, citizen service, and experimentation. This contribution is also concerned with understanding Carrà's stardom within the context of national political practice, bringing evidence to support that the year 1986 marked a full politisation of her star persona. Finally, and above all, I will try to show how this snapshot suggests that Carrà should be inscribed within a markedly political qualification, laying the foundations for a more in-depth analysis of the civic role and the social impact of such a multifaceted professional career. More specifically, this article focuses on the ways in which Carrà used her pivotal role - since she occupied a central position in the media system during the period taken in consideration (the late 1980s) - as a space for socially engaged action within the complex dynamics of the mediascape. [ABSTRACT FROM AUTHOR]

We propose a universal readability index, G U , applicable to any alphabetical language and related to cognitive psychology, the theory of communication, phonics and linguistics. This index also considers readers' short-term-memory processing capacity, here modeled by the word interval I P , namely, the number of words between two interpunctions. Any current readability formula does not consider I p , but scatterplots of I p versus a readability index show that texts with the same readability index can have very different I p , ranging from 4 to 9, practically Miller's range, which refers to 95% of readers. It is unlikely that I P has no impact on reading difficulty. The examples shown are taken from Italian and English Literatures, and from the translations of The New Testament in Latin and in contemporary languages. We also propose an extremely compact formula, relating the capacity of human short-term memory to the difficulty of reading a text. It should synthetically model human reading difficulty, a kind of "footprint" of humans. However, further experimental and multidisciplinary work is necessary to confirm our conjecture about the dependence of a readability index on a reader's short-term-memory capacity. [ABSTRACT FROM AUTHOR]

The focus of the paper is on the income orientation (versus capital orientation) that proved to be particularly relevant in Italy during the last one hundred years in conjunction with the monetary equilibrium, an axiom of economia aziendale which helps, still nowadays in times of transmodating dynamics, to face and solve many problems, included 'on going' and 'abandon' decisions. Furthermore, the aim of research is to draw attention to the large Italian literature, often internationally unknown, hoping it can contribute to the knowledge of accounting history in different Countries and cultures. Throughout one hundred years of economia aziendale it has not been possible to split various periods in which more emphasis is on the assumption of 'going concern' or on the assumption of 'liquidation', because the different Authors refer systematically and continuously to both hypotheses in a joint economic connection. The 'going concern' hypothesis is referred to every 'economic unit', azienda in Italian literature. The contemporary overall crisis involves accounting statutory regulations and standard setters, debating prospective conditions of concern continuity, which is the economic, financial, monetary, patrimonial and general synergic equilibrium, as well as the connected social, political, anthropological, environmental, sustainability aspects. The accent is on income flows magnitudes in order to 'on going' or 'wave' decision. In this way, also 'money and credit' dynamics is interpreted in the aspects of income production, the maintaining of 'monetary equilibrium', and the control of capital structure. In this regard the income concept, in different configurations, is a fundamental unavoidable construction, especially economic income, which tends to move the determination to decisions and implementing actions, also in most adverse situations, considering in the decision process all the variables which explicitly reflect the azienda, concern, in its unitary, dynamic, continuum system. Hence, the constant control over 'production conditions' and also 'monetary equilibrium', whose maintenance is through both suitable characteristic production operations and by appropriate financial-monetary operations as well. [ABSTRACT FROM AUTHOR]

The activity of Italian banks in Egypt represents an almost unexplored field of investigation in economic history. This article is the first to attempt to add to the Italian banking literature in this area. At the same time, it contributes to the multinational banking literature on the characteristics of banks belonging to multinational groups, which are subject to a 'liability of foreignness' due to differences between the home country and the host economy. The paper explains the short-lived success of Italian banks, which were able to occupy primary positions in the Egyptian banking sector thanks to an aggressive policy focussed on the cotton market. It then highlights the reasons for the subsequent problems these institutes faced, showing the difficulties of a latecomer and capital-poor country, such as Italy, in carrying out a catching-up process aimed at widening its influence over geographical areas considered strategic in terms of political and commercial penetration. [ABSTRACT FROM AUTHOR]

Looking at italian contemporary literature, specifically novels, there are some literary works that emerges with predominance for their precursory blend of genres and also socio-cultural perspectives. This is the case of Paolo Volponi’s Il pianeta irritabile, a sort of stratified novel in which sci-fi, fable, bildungsroman, allegory, social complaint, experimentation on language, philosophy enquiries etc. form a new way of analyzing the complexity of a modernity totally involved in an economic and capitalistic trend, renewing the idea of a literature that is conflict and also a warning for the future generations. This paper intends to address and often overlooked issue for an approach to the Volponi’s novel that is at the same time a dystopian one, for the environmental issue, for example, but also for the “post-apocalyptic” point of view, but especially an hodoeporic one, because the macro-phenomenon of voyage intended as a transformation force is an undeniable fulcrum of the entire novel.

This article sets out to examine the epilogue of L’amica geniale as the site in the novels where Lila can be said to claim true authorship outside the bounds of Elena’s text. It contends that the mysterious return of the lost dolls at the end of the novel should be interpreted as a triumph on Lila’s part, offering warrant for that contention not by claiming that Lila herself orchestrated the return, but rather by positing that, in the novel’s treatment of the life-plot tension, Lila tends to be representative of the former and Elena of the latter. Thus, in marking the closing of the plot, the dolls index a return to “life,” and thus a recalibration of the text’s energies in favor of Lila. The article then employs Peter Brooks’s narrative theory to understand the thermodynamic effects that the return has on the text, proceeding to apply Teresa de Lauretis’s concept of the “space off” to argue that Lila’s victory extends beyond the simple competitiveness that governs her relationship with Elena and into the institution of an entropic, liberatory desire.

This article analyses Italian illustrated editions of Little Women published between 1908 and 1945. After an overview of the publishing history of the novel in Italy, the paper will examine Italian illustrations as hermeneutic tools in order to examine their ideological function in the representation of gender. The belated reception of Alcott's novel in Italy, caused by its representation of a nonconformist educational model for girls, is mirrored in the tension between the nationalistic drive and the influence of foreign models that can be pinpointed in the illustrated editions. By analyzing adaptations of American illustrations, original Italian creations, and omissions of iconic illustrations, this paper will unveil how much the visual element is embedded in the Italian historical and cultural context, as the choice (or omission) of particular images impacted the interpretation of the book. By examining the Italian editions of Little Women published in this time frame, we will also be able to retrace the links with the American illustrated history of the book and bear testimony to the powerful impact of the 1934 film version on printed editions. [ABSTRACT FROM AUTHOR]

Alba de Céspedes's Prima e dopo (1955) has generally been interpreted within the framework of the Italian Resistance and the subsequent disillusionment of Resistance ideals. While taking this interpretation into account, I argue that the central narrative of desire in Prima e dopo is not Irene's relationship with her lover, Pietro, but Irene's subversive desire for her maid, Erminia. I analyse and challenge some of the mechanisms and methodologies of Italian literary historiography that create and reproduce the disregard and devaluation of queer desire, specifically lesbian desire, in Italian narratives, and I identify scholarly, cultural and textual mechanisms that have rendered queer desire in Prima e dopo invisible. In sum, this article contributes to an Italian lesbian archive and lesbian literary historiography and argues that a queer reading of Erminia's role in Prima e dopo enhances our understanding of the post-Resistance framework of the novel and its radical politics. [ABSTRACT FROM AUTHOR]

This case study examines the importance of artistic periphery in the field of early Renaissance architectural sculpture in the years circa 1480 – 1550. The Renaissance style spread to Central Europe especially from Italy. In the older historical art literature opinions often emerged that Central European stonemasons did not understand the principles of Italian Renaissance art, and because of this misunderstanding they combined Renaissance style with Gothic. The author has undertaken long-lasting terrain research of early Renaissance architectural sculpture in one Central European and one Italian region of artistic periphery: the Moravian part of the Dyje valley and Val Camonica in Lombardy. In both regions were very elaborately stylistically examined stone decorations of architecture in the years circa 1480 – 1550. When the information about client´s social status, travel itinerary was known, also the influence of client on the style of architectural sculpture was researched. On the basis of terrain research, the author comes to the conclusion that stonemasons in the Moravian part of the Dyje valley in the time of early Renaissance created architectural sculptures in the same styles that Italian artists in Val Camonica did: Romanesque Renaissance, a mixed style combining Gothic with Renaissance, early Renaissance architectural sculptures closely following the antique models, early Renaissance architectural sculptures created as an innovative modification of antique models. [ABSTRACT FROM AUTHOR]

Proprioceptive cervicogenic dizziness (PCGD) is the most prevalent subcategory of cervicogenic dizziness. There is considerable confusion regarding this clinical syndrome's differential diagnosis, evaluation, and treatment strategy. Our objectives were to conduct a systematic search to map out characteristics of the literature and of potential subpopulations of PCGD, and to classify accordingly the knowledge contained in the literature regarding interventions, outcomes and diagnosis. A Joanna Briggs Institute methodology-informed scoping review of the French, English, Spanish, Portuguese and Italian literature from January 2000 to June 2021 was undertaken on PsycInfo, Medline (Ovid), Embase (Ovid), All EBM Reviews (Ovid), CINAHL (Ebsco), Web of Science and Scopus databases. All pertinent randomized control trials, case studies, literature reviews, meta-analyses, and observational studies were retrieved. Evidence-charting methods were executed by two independent researchers at each stage of the scoping review. The search yielded 156 articles. Based on the potential etiology of the clinical syndrome, the analysis identified four main subpopulations of PCGD: chronic cervicalgia, traumatic, degenerative cervical disease, and occupational. The three most commonly occurring differential diagnosis categories are central causes, benign paroxysmal positional vertigo and otologic pathologies. The four most cited measures of change were the dizziness handicap inventory, visual analog scale for neck pain, cervical range of motion, and posturography. Across subpopulations, exercise therapy and manual therapy are the most commonly encountered interventions in the literature. PCGD patients have heterogeneous etiologies which can impact their care trajectory. Adapted care trajectories should be used for the different subpopulations by optimizing differential diagnosis, treatment, and evaluation of outcomes. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur Arastirmalari Dergisi 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 have an authentic approach to comparative literature as an emerging phenomenon in the field of humanities, the application of new scientific methods such as linguistics and discourse analysis could be useful to understand the stylistic conventions. Rhetoric techniques, after linguistic knowledge, could analyze the mechanisms of literary text by determining the stylistic aspects of each work as one of the most important keys to pursuing the intercultural researches. Medieval Romance rhetoric had almost condemned the use of similitudo: «Hoc autem modernis non licet» as Matthew of Vendôme affirms (Ars versificatoria, V), in the second half of the 12th century, but such an attitude is not attested among the rhetorical treatises concerning Persian literature. In this article, we have tried to explore one of the most fundamental figures of speech, simile, in Persian literature and the literature of the Romance languages, to better understand the role of imagery technics in two different areas of Aryan Languages. The norms and foundations of the structure of simile, which are more developed in Persian literature than the Romance culture, are in some ways adaptable to European rhetorical insight from our point of view. In this regard, the selected poetical citations are based upon Italian, new Latin and Persian texts. It is noteworthy that the examples have been selected from various literary periods, from the works of different authors from the Middle Ages up to the last century. In this way the Italian rhetoric based on medieval eloquence, which finds its roots in late Latin and Romance rhetoric, is comparable through poetic compositions with the eloquence of classical neo-Persian literature. [ABSTRACT FROM AUTHOR]

This study surveys the poetry written in Piedmontese today. It identifies the main trends as well as the principal centers of production and provides a profile for some of the most significant voices. It concentrates on the work of poets Remigio Bertolino and Giovanni Tesio, the latter a scholar of Piedmontese and Italian literature who recently turned writer. [ABSTRACT FROM AUTHOR]

The influence of I Rimini i on Byron's I Parisina i , indeed on Byron's move from "Turkish Tales" to 'the more formally and thematically radical work of his Italian exile', is thrown into sharp relief. Chapter 4, "Veneto 1817-1819: Venice Redefined", focuses particularly on "the early works of Byron's and Shelley's exile". Will Bowers, The Italian Idea: Anglo-Italian Radical Literary Culture, 1815-1823. [Extracted from the article]

Writing across and beyond borders evokes at once the human aspiration to connectedness and the reality of a divided world invested in particular interests. For Ebe Cagli Seidenberg, the act of writing emanates from the Fascist racial laws of 1938, which forced her – a young Jewish Italian woman – to leave her native Italy and find refuge in the United States. The production of a five-volume series entitled Ciclo dell’esilio obbligato [Cycle of the Forced Exile, 1975-91] is a testament to that unwanted separation and the implications that borders have on processes of self and communal identity, hybridization and exclusion. Come ospiti: Eva ed altri (1991) is the last volume of Ciclo and the focus of this essay. The novel is a portrayal of a small community of European refugees gathered in the hills of Berkeley, California. This essay explores two different articulations of coalition politics and borders in Come ospiti: the first one emphasizes affect, gender and class relationships, and the destructive effects of silencing and social masking, especially in relation to women and motherhood. On another level, and perhaps as a counterpoint to the impermanent female alliances of the story, coalition politics is articulated through the quest for literary interlocutors across national and linguistic borders. The result, I contend, is a liminal literary space molded on a national tradition but set to achieve a transnational status.

This study reviews observations on Ankara made by Antonio Baldini, the 20th century Italian writer, traveler, and journalist. Baldini visited Ankara and travelled in the newly established Republic of Turkey in 1930 upon the request of the newspaper 'Corriere Della Sera', and published his observations in a work entitled Diagonale 1930, Parigi-Ankara. It can be said that the observations of Baldini, and other Italians who witnessed the transformation of Ankara, have not been as closely studied as the works of other travelers and scholars. One of the most remarkable elements of Baldini's multi-linguistic and multicultural story is how it describes the transformation of Ankara into a modern capital. The work 'L'Odeporica/Hodoeporics', which a foundational travel literature text containing the works of Luigi Monga and Franco Cambi, is used in the examination of Baldini's travel notes and observations.

The article discusses the text of the translation of the play by Gabriele d’Annunzio “Francesca da Rimini” into Russian, which is a joint work of two poets of the Silver Age – Valery Bryusov and Vyacheslav Ivanov. The purpose of this study is to reveal the peculiarities of the translation strategies of the two authors regarding the intertextual relations of the original text. Francesca and Paolo are the images that world culture has often turned to. There are various interpretations of their history in literature, sculpture and painting. Gabriele d’Annunzio uses references to the texts of Dante and Boccaccio, which require the special attention of the translator. Comparative, cultural-historical and comparative-historical methods are used to analyze the trans- lations. Systematic deviations from the original are revealed, which demonstrate a clear intention: to make the image of Francesca more sublime, to bring it closer to Dante’s interpretation, which is closer to the Russian reader and viewer than that of Boccaccio. Dante, who is directly acquainted with Francesca’s family, presents her as a victim of a sudden outburst of passion, while Boccaccio describes Paolo and Francesca as traitors who have been hiding their criminal love affair for a long time. Dante’s sympathies are on the side of Francesca, Boccaccio’s sympathies are on the side of her husband. D’Annunzio, despite the references to Dante, interprets Francesca’s story in the spirit of Boccaccio, and Bryusov and Ivanov deliberately bring it closer to Dante’s in- terpretation by choosing certain lexical units and alternative translations of the song titles and medieval leg- ends mentioned in the play. The translation of allusions and reminiscences, used by the two authors in various scenes, brings the text closer to the semiotics of a chivalrous novel, a sublime love for a beautiful lady, which was urgent among the authors of the Silver Age. Into the bargain, the interpretation of the image of Francesca can be associated with specific actresses who were seen in this role by the author of the original and the au- thors of the translations. D’Annunzio created a text dedicated to Eleanor Duse, and Bryusov and Ivanov worked on a translation for V. F. Komissarzhevskaya.

Dante in African American Literature as a theme of Dante studies has been developed by the Ameri- can scholar of Italian literature Dennis Looney. The article is written as a critical rethinking of Looney’s book and articles, in particular his concept and the examples he had collected. The author of the article denies the idea thoroughly elaborated by the American scholar that Dante was a notable figure in the process of the development of African American identity, as well as the fact that there was a tradition of African American study of Dante and his “Divine Comedy”, at least until the middle of the 20th century. T. Yakushkina argues that, firstly, a small number of examples in the 19th and the first half of the 20th century, without continuity or consistency among them, does not allow talking about a two-century-long tradition. Secondly, the examples have a different logic which correlates not with political processes in American society but with the development of African Ameri- can literature itself. Parallels with Dante’s name and allusions to his Commedia should be interpreted as artistic, not political, devices. One can observe the creative ease in using them only from the middle of the 20th century, when black literature overcame its lag behind the white mainstream and moved to a qualitatively new level of its development. In Dante’s Inferno African American writers found the material for solving their racial and cultural problems (Ralph W. Ellison, Amiri Baraka). In the 1980s, when African American Literature was built in the post- modern paradigm, Dante’s Inferno provoked the expansion of intertextual techniques along with the intention to see through the prism of the problems of black identity and assimilationism common human problems of the modern bourgeois world (G. Naylor). In addition, in the second half of the century, African American writers demonstrated a new attitude to Dante’s name. They used it not to get an access to the western culture but to reject it and proclaim their cultural identity. For modern African American culture, which is developing in a common dynamics with Western culture, it is characteristic to transfer Dante from literature to jazz and creative practices of rappers.

Late in his career, Titian (and his workshop) treated the Venus with musician theme in a series of five similar paintings of unconfirmed patronage. All show the goddess in the same reclined pose, but the musician at her feet transmutes over the course of the series from organist to lutenist, and subtly changes position in the frame. Recently, the paintings and their thematic origins have elicited much debate among art historians McIver, Goffen, Falomir and others. But any mention of the painting's musical instruments remains confined to discussion of the works' composition, perspective, or implicit Neoplatonic or Petrarchan sensory discourse. In particular, conversation regarding Titian's viol only highlights its crude form, as 'proof' of the series' completion, after Titian's death, by a less-skilled hand. Despite its generally noble status throughout its lifespan, the viol became a widely sexualized object in Renaissance Italian literature; the first viol-centric sexual allusion comes from Straparola's Le piacevoli notti , ii (Venice, 1553), which closely coincides in time and place with the viol's appearance on Titian's canvas. In particular, considering the wealth of viol-sexualizing English poetry and drama in the following century, connections between Titian's Venus and Le piacevoli notti , with its ultimate vogue in English Transalpina culture, warrant recognition and investigation. [ABSTRACT FROM AUTHOR]

The complexity of historical urban centres progressively needs a strategic improvement in methods and the scale of knowledge concerning the vulnerability aspect of seismic risk. A geographical multi-scale point of view is increasingly preferred in the scientific literature and in Italian regulation policies, that considers systemic behaviors of damage and vulnerability assessment from an urban perspective according to the scale of the data, rather than single building damage analysis. In this sense, a geospatial data sciences approach can contribute towards generating, integrating, and making virtuous relations between urban databases and emergency-related data, in order to constitute a multi-scale 3D database supporting strategies for conservation and risk assessment scenarios. The proposed approach developed a vulnerability-oriented GIS/HBIM integration in an urban 3D geodatabase, based on multi-scale data derived from urban cartography and emergency mapping 3D data. Integrated geometric and semantic information related to historical masonry buildings (specifically the churches) and structural data about architectural elements and damage were integrated in the approach. This contribution aimed to answer the research question supporting levels of knowledge required by directives and vulnerability assessment studies, both about the generative workflow phase, the role of HBIM models in GIS environments and toward user-oriented webGIS solutions for sharing and public use fruition, exploiting the database for expert operators involved in heritage preservation. [ABSTRACT FROM AUTHOR]

The ancient links between poetry and the Olympic idea were rediscovered and revived in the Renaissance period and beyond. The first references to the ancient Olympic Games appeared in fifteenth-century Italian literature. Then they were exploited by German, French, Polish, Scottish and English poets in the following century. An analysis of sixteenth-century and seventeenth-century poetic works demonstrates that Olympic themes were used in poetry for comparative purposes to evoke moral, ethical, organizational, and athletic models, and even to raise the prestige of local events. The dissemination of Olympic traditions through poetry also contributed to the development of some well-known carriers of the Olympic tradition called pseudo-Olympics, famously exemplified by the Cotswold Olimpick Games organized in England by Robert Dover and widely appraised by English poets. All these activities testify to the significant role of poetry as a principal component of Olympic legacy in European culture. [ABSTRACT FROM AUTHOR]

Che cosa accomuna le poetiche di autori diversi tra loro come Cesare Pavese, Elio Vittorini e Carlo Emilio Gadda? Il presente contributo intende indagare da una prospettiva inedita il problema dell'originario nella letteratura italiana contemporanea, a cavallo tra la fine degli anni Trenta e i primi anni Quaranta del secolo passato (1936–1945). Seguendo la lezione inaugurata da Edward Said con Beginnings, l'autore riflette sulla vitalità del tema dell'origine, qui nella fattispecie dell'infanzia riletta alla luce del mito eziologico del Paradiso perduto, entro la cultura italiana tra le due guerre, in cui si intrecciano le suggestioni della Scienza nuova di Vico in combinato disposto con le teorie di Giacomo Leopardi e Henri Bergson. È, difatti, alla luce della funzione della memoria (individuale e collettiva) che questi autori ripensano il fascismo, alla ricerca di spunti capaci di redimere la violenza del presente. [ABSTRACT FROM AUTHOR]

Starting from some considerations regarding the process of compiling a bilingual literary vocabulary, this paper will discuss examples of culturally marked lexicon employed by Graciliano Ramos in a corpus of selected novels and their respective translations into Italian. The aim is to demonstrate how the multifaceted cultural and social reality of reference of the analyzed works emerges through the writer's lexical choices. At the same time, the paper also wants to illustrate that the study of regionalism and other cultural markers constitutes a precious didactic material in university courses, not only in the area of Translation Studies but also from an interdisciplinary perspective, which considers linguistic and extralinguistic connections, to deepen the varied elements of the Northeastern culture in its globality. [ABSTRACT FROM AUTHOR]

The article discusses two passages from the treatise De optimo senatore libri duo, in which Wawrzyniec Goślicki evokes Venice as a model of a mixed form of government. It is shown that the image of Venice in the work of the Polish writer does not differ from that established in Italian literature of the 15th and 16th centuries by Pier Paolo Vergerio, Gaspare Contarini, Donato Giannotti. It has been shown that Goślicki, unlike the aforementioned authors, made the prosperity of the state dependent not on the wellfunctioning governmental bodies, but on the moral excellence of the ruling class. [ABSTRACT FROM AUTHOR]

The essay proposes a reading of El Dialogo tra l'anima di Pier Luigi Farnese duca di Parma e Piacenza e Caronte nel passar la barca da questa all'altra vita (1547-1549), mainly known in its Spanish version, on the basis of the assessment of the context of its production, its genre and its linguistic-rethoric pattern. The article also provides, in the final Appendix, the first comprehensive edition of the italian version, based on the collation of the three manuscript copies located to date. [ABSTRACT FROM AUTHOR]

The essay proposes an analysis of Le ultime lettere di Jacopo Ortis based on a discussion of the passages in which the protagonist is represented in the act of reading, of opening and closing books, of declaiming their content. What emerges is the central value that the practice of reading plays in Jacopo's experience: by annotating the classics and the Bible, he seeks answers to his crisis and finds confirmation and omen in the books; and by reading aloud to Teresa he manages to circumvent the unspeakability of his love. In the novel's ending, not surprisingly, the waning of illusions, sentimental and political, implies the renunciation of reading, which coincides with the 'apostasy from virtue' and heralds suicide. [ABSTRACT FROM AUTHOR]