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The Georgicks of Virgil, with an English Translation and Notes Virgil, John Martyn Ipsi in defossis specubus secura sub alta Otia agunt terra, congestaque robora, Pierius says it is confecto in the Roman manuscript. And Tacitus also says the Germans used to make caves to defend them from the severity of winter, .

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Only I know that what I know is really nothing. La via del molise. Slowly you start to count: the time gone by before your eyes, begins to waver. The road to Molise is sweet as honey, it stretches across mountains, over rivers. You can see the towns in shape of crosses and the heart rejoices, wants to sing. And you hear an ancient voice that calls you from the dark of the fountain, from the branches. Tesio Udine: Campanotto, ; Controcielo , grotesque novel, preface by F.

Brevini and note by A. Serrao Milan: Scheiwiller, Spagnoletti e C. Vivaldi, eds. Milan: Garzanti, The poems printed here come from Controcore. This is a bastard child of a perennial world, unconscious victim of the she-wolf mother unnature? It does so via his inexhaustible inventions of turns-of-phrase and metaphors against a baroque backdrop that is, literally, black-and-blue.

Here, an endless neologistic and prosodic bombardment rages against the traditional music of the Romanesque vernacular and transforms this tongue into a solar and underworld language that acts in critical and mad counterpoint with the pulsations of memory, the joys of youth, sensuality, material life. Piga, La poesia dialettale del Novecento, cit.

Brevini, in Nuovi Argomenti , 47 July-September Maffia, in La barriera semantica, cit. Night is gentle, limpid, no dreams. I set out alone to meet the broken dawn. The thought of the moon hovers and light flows in its nuances. The ghosts of things swarm, shades withdrawing from shadows of annunciation of day I revive in the fancy conjured by the world and who-knows. Si fa chiaro quel gran dolore che fa tremare. I cani allampanati hanno un andare sbilenco e incrociano gli umani sentieri. Il vento viene da infinite leghe e si disperde al crocevia fino al momento del supremo andare che ci fa uomini.

Scattering The shaded sky sheds the moon. The pain that wracks us clarifies. Lean and hungry dogs weave, cross paths cut by hands. Wind rises from infinite compounds and scatters at the turning point, that moment of the supreme adventure that makes us human. Il freddo. La carne e il sangue fatti parola. The Cold That holy cold that dries your heart and the sudden frost, quick deep freeze of Bohemian droplets on the branches of the Pincio Flesh and blood become word.

And us, bone-deep, passing through the needle-eye of super-starry heavens that go lunatic. La gloria e la fiacca. The grass shivers in auroral chill Poetry in Italian: Coordinata polare , Rome: Ed. Something else that struck me in these poems is the acceptance of a tradition such as the Neapolitan, not in its easy musicality or in the fatuous and abused melody of sentiments — the Neapolitan song — but in the innermost philosophy of this great city and in the stylistic observance of an inclination to think, of a movement of thought within sentiment, which after all constitutes the most profound character of Neapolitans, so as to produce a renewal within tradition.

Dialect is for Serrao a virile, paternal tongue, in which there is no regression: it is the instrument of an inner monologue and a dialogue with his dead father, which is the same thing , carried out at the urging of a totally modern anguish, far removed from any alleged Neapolitan well-being. A landscape that seems swept by a wind of destruction and the often rainy and wintry weather increase the effect of displacement. Serrao uses a closed, harsh dialect While She Should Have Left Came Winter So Winter Comes In Lord, to you I entrust the melancholy of this gentle sprite, and the signs of mine upon my brow, of mine under the eyelids He teaches contemporary literature at the Academy of Fine Arts in Naples.

Writing in dialect, in my dialect of Cappella, very close and similar to Neapolitan but with a few autonomous morpho-syntactical characteristics, to me means more and more drawing out my voice, my imagination, my anthropological-expressive identity grounded in an sharply defined archaic territory like the Campi Flegrei. Dialect, then, neither as a flight toward the past nor as a negation of the present, or not merely this, but as a pressing necessity to discover my roots, opening my cultural heritage to original and inherent possibilities.

This means that Italian, Latin and dialect must interact, without either academic-philological pretensions or the least late-avantgarde temptation. I am even less seduced by the not very seductive siren of post-modernism. For me it is a question of bringing to light the numerous suggestions and images, the complex phonic and rhythmic layering that has deposited inside me over the years, without any kind of exclusion or privilege. Le piastrelle. The Tiles The cracked tiles wobble when you walk on them, the whole house shakes, a house with so much pain inside, chairs and mirrors swallow dust and grimacing mouths.

A knife slices through the walls, a thin breath like that of gasping birds, beneath the rows of tiles the things the shadows on the floor below stir, creak. And so many long, black tails, so many worms come out at night from underneath the tiles to jump on you in your sleep! Brucia in basso. It burns Below It burns below it burns twisted roots the animal kicks and bites dead rats below a dry wind burns doors and windows slam the tongue chews only saliva that burns in the throat below Pare luna.

It seems moon. These tinkling stairs seem a luminous scroll, where the blackest wings go up and down, tiny feet with a line of blood much thinner than cotton. A Miseno. At Miseno At Miseno there is the sea and the lighthouse, there is a light at Miseno, hazy and distant, that spreads over the mountain, getting lost there, and then a voice rises from the ground, the voice of the statues eaten by wind and time, and from the sea rise ghosts of salt that prick your eyes.

He studied in Naples degrees in French literature and Philosophy. Very intense and decidedly productive his relationship with two distinguished Neapolitan writers: Domenico Rea and Fabrizio Ramondino. He wrote in Neapolitan dialect from the mid-Seventies to the end of the Eighties. Greco ESI, His poems appear in the anthologies Poesia dialettale dal Rinascimento a oggi, cit.

He is also known as a satyrical poet in Italian under the pseudonym Sasade. He uses his Neapolitan dialect to express a malaise that betrays Symbolist roots renewed through the realism of a very different tradition, imbued with a profound and sorrowful musicality. Some faded withering soul of an old unmarried lady got really tired of sewing the dresses that you asked for and ripped away your eyes. I am the one who gave you this quite unpleasant sickness. I am ashamed of living with my arms that drop under the weight of death. A sprite each morning walks with him towards the school and then takes him back home.

The underling of death follows us step by step. The sprite goes out the door to take a little stroll. He earned his keep today. Translated by Luigi Bonaffini. E scacciali, gli spiriti! They got inside your nerves just like so many ants and gnawed away at you worse than a dead cat. You yourself have cast a most malicious spell. There is no sorceress who can sprinkle grains of salt over your recent wounds. Non fumavo sigarette, non andavo con le donne. I always walked alone waiting for better times, my pockets filled with stanzas that bedeviled death.

And the last twenty years? An album full of stamps. While never smoking cigarettes I smoked away my youth. Versi noti di canzone nella nebbia della notte. With the lyrics of a song they have locked you in a coffin. And you know that after them one morning death will suddenly appear. His corpus poeticum puts us in touch not only with the myth of beauty but with something that transcends our idea of its harmony and hovers around a consciously honed, succinct truth. Just an earthy and elegant wit that comes to life via the critical discipline of writing, with a keen eye cast on the future, always in progress.

Lunetta Bibliography Antonio Motta, preface to Iune la lune, cit. Zagarrio, Febbre, furore e fiele Milan: Mursia, Nigro, In Puglia Florence-Bari, Inside the entrails to catch ghosts it peers. It masks as chick mosquito shade. It rolls over inside chaos filthy with mold and blood with seeds and wind it slowly uncorks your senses.

Open the doors and get undressed so that when you least expect it before the final star dies out feet in the air and without knocking hugging the wall very quiet it will come to visit you. Nu mecidde de crestiene, viete a lore. In campagna. Un macello di cristiani, beati loro.

A swarm of people, lucky for them. The scirocco romps among the olive trees. Puff: the people vanish one and all all of them all at once a burning swells the underbelly! A crevice opens in the ground and lets out a mass of rising dough to be kneaded gently by hand. Kneading it seems as though I were palpating breasts. From beneath the fingers a mare of a woman starts slowly to grow. Oh, yes! His first books of poetry were published in Italian: Sul mare i lembi senza cimose ; La lunga veglia ; Un grido di gioia ; Stormire He has also composed the Grammatica del dialetto di Mattinata Foggia, and the Dizionario del dialetto di Mattinata.

Rome: ; Le parole di legno , Mario Chiesa and G. Tesio, eds. Milan: Mondadori, ; and Poesia dialettale del Rinascimento a oggi, cit. He is all toil and solitude, sun and shade, primal needs, animals, nests, nature, fear, dream. The fabulous vision of Orion, after so much travail, so many emotions, comes to its apotheosis and closes in a cycle that reopens, with three dots of suspension, in the invocation of the rebellious mule that refuses to be recaptured by the child.

The sweet, dramatic nursery rhyme breathes as a magical prayer, a tender exorcism that dissolves in the omen-filled night. Words have the virtual, hypnotic force of signs without significance. These cadences accentuate the dynamic structure of a regular sequence of tercets and septenaries. Donatella Bisutti, in Steve , 7 and in Il Belli , 4 Loi, in Il Sole, 24 Ore 29 January I gelsi, i meglio frutti.

There I had a bunch of friends my brother and my little sister and my mother in a house so bright. But you left me in the fields in the company of a little cat and the bitch Guardiola. Where could you still go? I have a great fear, father, when, razor in hand, you shave, that you might put on like you did your best clothes, and the freshest grapes and everything you might fit in a large basket and bring it to her to my mother in a house so very bright.

But you left me in the country often with fleas and with gnats in the cave to listen to the wind blowing through the oaks. I refused to believe it the first time and after you I did come cowering; but After you beat me with the strap I was left alone, and grumbling spitefully, that evening when you left on the shady road behind the edge of the steep valley. Then I cried no more. How could I fall asleep at night? Yews, foxes and untrustworthy men filled my valley with their rustles.

Tane grotte voragini. Parole cerchi, segni. The works anthologized appear in print for the first time. In my youth, the only thing guiding me on my linguistic journeys was my intuitive love of writing. Peasants and artisans had spoken it well. But now those who do are few and far between. It was the language of my petit-bourgeois milieu and of my friends—who were of working- class and subproletarian backgrounds.

In contrast, the historical and philological culture of Potenzan got integrated into the form and content of my Italian poetry. Lunetta, in Da Lemberg a Cracovia, cit.

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Martelli, in Sulla soglia della memoria Salerno: Edisud, Giulio Ferroni, in Storia della letterature italiana Turin: Einaudi, Penalty Kick Pstrigne was playing a dirty game and Ntriscina bit at the bait, hotly demanding penalty kicks like the Devil asks for flour Pstrigne forced his hand with a two-pronged thrust and a flagrant clip Moon Aura Last night I saw a moon so pure it defied every space-flight science.

It loomed larger than earth and I was sure the world and I were already dead. It wasnt a moon but a dream lost in bygone days when murder didnt exist. Yellow moon, violet star, I was oblivious to killers and crooks because I was dead and the moon deaf and dumb Maria Maria.


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Maria, Maria Maria sang and sang unawares she was a whore. She always wore skirts unawares she was a whore. Subsequently he published the results of his research on Lucanian culture: Centri intellettuali e poeti della Basilicata del Secondo Cinquecento and Basilicata tra Umanesimo e Barocco Pursuing his cultural studies as means of reflection on the Problem of the South, Nigro produced essays on Antonio Persio and Bernardino Telesio, Vincenzo and Porfido Bruno, Carlucci, and Rocco Scotellaro and anthologies of Southern poets of the second half of the twentieth century.

Other important dramatic works: Bande e Discarica , Hohenstaufen and Il santo e il leone. Poetry published: Giocodoca and La metafisica come scienza. These poems play on and experiment with mass media language and the transformation of contemporary culture via news theater and spectacle. In , Nigro and a group of Puglian poets founded the avant-garde Interventi culturali. In , he started to publish the journal Fragile , which metamorphosized into In-Oltre. The poems anthologized, all written in Melfitan, are previously unpublished.

He can be considered an experimental poet; but he does not belong to that squad of avant-gardists who announce the Apocalypse then fraternize with the enemy on neutral ground. Instead, Nigro is among the few poets who wage a real war for renewal in language and thought and who take the personal risks of being considered gadflies. His work is typical of a poet and a man who is uncompromising and who strives to capture the inexpressible and transcend cultural oppression by inventing a new language in confrontation with the conventional. He goes beyond the formulae of absolutist realism to devise his own uncontaminated, integral, diverse form and content.

His vehicles are metaphors, alliteration, transgression. Thus he presents an authentic ludibrium falsae veritatis, letting his play spirit run wild on its mathematical course where fury and life artfully collide. Faceme pace, non so ie curu galiota ca pensate. I recoil brandishing my fist at these throngs of ocular ruts.

Peace, I am not the pander you think. Peace--or else laid out in my coffin on that last night of fear must I keep watch over your dissolution? Must I watch you watching me, bit by bit, dissolve? The garden, the woods, the valleys are beds without rest, beds are these roads, these palaces and dwellings amassed one upon another by earthquakes. I climb up every day where a castle juts to embrace the valleys in my eyes and the higher I scale the more landscapes open to me: roof-tops, gradients, squares Now that the sun has spread its magic-lantern light in the forest the night abides and fear still has not freed me from the fever Mo, nu adda strafucate me tene na ciampa sopa lu pitt.

Now a throttled rooster fixes claws in my breast. You say it with vacated eyes and a mouth of flint, mouth without breathe, without a shout. Since he has been living in Milan, where he does research for medical laboratories. He won the Lanciano Prize for dialect poetry. The poems presented here are taken from Umbri , cit. I was born in Reggio Calabria; since childhood my parents always spoke to me in Italian.

You had to learn it well. Just as we do today with our children for English. Between them, though, especially when they had heated discussions, they spoke dialect which I absorbed, like all children, with my eyes to games and my ears to anything interesting. My schoolmates, the courtyards, the streets later completed the full acquisition of the language, and like all Italians i became bilingual. The dialect of Reggio in which I write and communicate is part of that great variety of dialects that, local variations notwithstanding, by virtue of their syntax and prevalence of Greek and late Latin etymologies, are defined as the Sicilian linguistic area.

Venuta di Fiorella. And I, what have I ever done with it? Chi mi scaterni? Why do you search me? Your rising is a sharp slash. The arc of the sky accompanies you naked, in your innocence, in your being alone, clean, in the darkness, enveloped in blackness, not my accomplices, darkness and arc, because I am marked for others, others who do not hear what they can see, they deny even their eyes when they do look; but you, make room for me within your shadow, dream of my being delirious, inexistent, snatch me away from my confounded days, because I never see what I am doing, even with my eyes so keen, so open wide, and what did come to me within my dreams, just like a thief, I have forgotten all.

You know the holy breath of frozen lemon leaves, that seem made to bring out that roundness filled with flashy yellow, a blackish green that makes no impression, that must become a frond, in poverty, because it takes a sinner to be a saint. Altomonte, B. Cattafi, G. Lagorio, S. Quasimodo, G. He authored the volume of essays on dialect poetry La barriera semantica , Rome: Lo Scettro del Re, Ha made his debut as narrator with a small volume published by Leggere, directed by Rosellina Archinto, and shortly after he published the short story Corradino in the series La clessidra directed by Alfredo Guida, Napoli, I would like to state clearly that in my opinion Maffia, among the talents of the last generation, is the one who shows more openly in his poems his ties to the generation of poets of the third great season of our contemporary poetry: from Luzi to Bertolucci, from Penna to Sinisgalli, from De Libero to Gatto.

This relationship, which he keeps very much alive in his style, has nothing to do with the imitators of the post-hermetic season. It is an authentic transfiguration with a considerable commitment to style , that aims to recognize our common humanistic background, fallen by the wayside a few decades ago at the urging of experimentalists and avantguardists. With Maffia, we are in the presence of a post-modern humanism, cultivated by the very few — among whom stands out the name of Andrea Zanzotto. It is not by chance that in his last book Idioma the latter tackles the problem language-dialect, which he interweaves superbly..

The Calabrian receivers proudly recognize sounds, words and expressions that prompt him to explore his devastated land with its remorses. A restare fuori. Not artful stories seasoned with salt and pepper, with beautiful words, but dense vapors of the soul, pacts with the devil. Una storia mia. Who said that what you write in the wind will be lost? Or that you need a name to be world?

I want to be a story they tell in the square sitting on a wall. Whether scirocco or north wind you never go under. The refusals later, when the movement gets rusty. What joy, other names, so many, so many on a thousand lips. Si danno la mano. The old fool no one has ever seen. One next to the other, casually, yellow and red shake hands, white black blue. A lot of stories a lot of vowels, consonants empty signs spinning inside an irritating echo spoiled and born with the word.

Translated by Luigi Bonaffini A socra meje g. A mia suocera g. Odisseo in itaca. Three times three doves took flight in a flutter from my hand. Is there purple so deep, Calypso, that a little can tinge the whole sea blood-red? Every night the sirens still tempt me in my sleep and the sea wavers. And the dream calls tempest and looks for you.

He has published essays on pedagogy, teaching methodology, sociology and theater. In , he earned recognition as an Italian poet with his Sulle labbra il nome del pane Reggio Calabria. Presently he is the editor of Giornale di Poesia Siciliana and La rivista di letteratura dialettale. Two of his most significant works of literary criticism are: Alessio Di Givoanni e la poesia siciliana del Novecento Palermo, and La storia incompiuta di Francesco Lanza Palermo, The texts printed here come from Li palori dintra. Rooted in reflection, this book breaks new ground.

The collection beckons us to pause, reflect, and glimpse new perspectives and practical orientations as to what creativity is about. Serrao Bibliography F. Brevini, in Le parole perdute, cit. Turi Vasile, preface to Li palori dintra. Maffia, La barriera semantica, cit. Non ti vedo. Chiamalo amore. Therefore before the day fades out I would so like to find my ancient innocence and this wing of sun where ivy grows upon the wall before it goes away. De Vita is involved in the Fondazione Sciascia of Racalmuto, the cultural center established via the last will and testament of the major Sicilian writer, Leonardo Sciascia.

They lead me to develop another area of my interests— especially via his poetry in dialect. They are the memories that weigh upon his present, the words that embody his new familiar and familial world. Certain particularly felicitous poems in the collection reinforce my suspicion that De Vita, with notable agility, is traveling the road where the dialect conveys us to the heart of things. Its story-line is threadbare, and the style is equally succinct—but intense. Like the landscape where the young protagonist discovers nature, childhood loves at first sight, and the precocious revelation of death.

Ma nisba, nisba e nnisba. Sunday in Summer I. I was fishing with my rod: mullets, little dorados red mullets and eels beneath the veil of moss in the canal. No luck! The little cork kept bobbing slowly on the surface of the water. Angiulu arrived, all dolled up, his hair parted, a blue jacket and a nifty blue shirt, a bow tie, glasses, a watch with a chain hanging from his vest. A large mullet was swimming, because of the asphyxiating heat near the surface of the water.

Angiulu jumped in — splashes of water in the air; the red was crashing against the little levy. He emerged, all confused, with moss inside his hair and on his neck. He wiped his hand across his face. At dawn he would slip out of the house, replacing the tiles. But one night he coughed. His cousin awakened from her sleep, screamed out in fear. Her father, mother and older brother came running They grabbed him by the arm and dragged him out from under the bed but Angiulu resisted, and in tears, begged them to let him stay there.

I love her. The heavy chain swayed back and forth. Hidden behind the leaves of prickly pears Angiulu waited. A long sound and the train in the dark; another sound, a crash wires, lights, steel plates. He ran away in fear. The next day at the coffee shop he spoke about his prank, laughing. It went on for a few minutes. Then two men grabbed him and put handcuffs on his wrists He died in the crazy house, at twenty-one, fiom a blow on his temple.

It is the emigrant himself who becomes aware of his condition, of the social injustice that exiles and condemns him to despair. This collection will be a virtual saga of , exiles. Thus, it will be accessible to all humans of conscience on this earth. Leonardo Sole, in Nuova Sardegna 18 June Antonio Lepori, in La Voce della Poesia Pungimi o spina.

Prick me deep Listen, the air is rife with voices If no one listens anymore who can detect your voice? Speak, but speak slow Translated by Justin Vitiello Accosta o fradi Accosta o fradi! E cantu hasi camminau tui pudu in su frius de sa storia cun sa bertula prena de abettus e de prumissas? Ca moveus impari! Andaus in circa de unu mengianu diversu: chi non si siat prus de alimentu custu si domanadi marigosu. Avvicinati fratello. Avvicinati fratello! How long have you travelled out there in the cold of history with your bundle full of dreams and promises?

Take heart! Also an expert in Sardinian culture, during most of his career he has done field study and textual analysis of oral communication. He has published numerous works on the problems of linguistic minorities, especially the Sards. See, e. As a dramatist, he has been deeply committed to developing a Sardinian Theater movement. Every year he organizes courses and seminars on Sard poetry and theater. He writes in Italian and two dialects of Sardinian Logudorese and Sassarese.

Most of his poems are still in manuscript form. Some of them have appeared in Poesia , 73 May In fact, these works are dramatic by nature. Witness the simulated dialogue and, above all, the breaks in the logic of the discourse and in the phraseology that the staccato versification renders. The poet produces a narrative text that proceeds via suspended images visually projected. The overall effect of this work, clearly influenced by Absurd Theater, is that of a stripped, dislocated gesticularity.

Desdemona nara Desdemona dimmi. All sinks to the bottom: sharp edges of day from the unmade bed, liquid smiles descending on rose petals and irons poised to strike All smiles, you came but one bird stained your gift Look, my love, the sun has driven the dark to flight In the profundity of your non-awareness I try to emerge launching a cry. Watch the sun, watch in the depths of light, the shadow of a bird that falls.

Brevini, F. Dialetti e poesia nel nostro seeolo , Turin: Einaudi, ; Chiesa, M. Works of narrative: Scene dei guasti , ; Cammeo , ; Retropalco , In he published Viamerica with Giose Rimanelli. He is editor of the journals Il Belli and Gradiva , and currently edits the dialect poetry section of the journal Pagine. He has translated into the Campania dialect poems by Catullus and G. Belli and is currently preparing a critical edition, with translation and notes, of La Tiorba a taccone of the baroque Neapolitan poet Felippo Sgruttendio de Scafato. Luigi Bonaffini is professor of Italian at Brooklyn College.

He has also translated Eugenio Cirese, Albino Pierro and other dialect poets. He co-edited Poesia dialettale del Molise , a trilingual anthology of poetry in the Molisan dialect and edited Dialect Poetry of Southern Italy , also a trilingual anthology. Justin Vitiello is a professor of Italian at Temple University, He has published numerous scholarly articles and translations of medieval, Renaissance and modern Italian, Sicilian and Spanish poetry.

Dino Fabris was a journalist, poet, and editor. He assisted Ernst A. He has also published two chapbooks of his own poetry, The Egg Shape and Antibodies. Related Papers. Dialect Poetry of Central and Northern Italy. A Trilingual Anthology. By Luigi Bonaffini. Viamerica - by Giose Rimanelli and Achille Serrao. Sonnets in bilingual edition. Poesia dialettale del Molise. Testi e critica - A trilingual anthology. Journal of Italian Translation, Vol. II, No. Download pdf. Remember me on this computer.

Enter the email address you signed up with and we'll email you a reset link. Need an account? Without Christ as Word made flesh, Beatrice would not be the flesh which Dante makes word" Striking, in the volume as we have briefly surveyed it, is the absence of sustained reflection on philosophical, theological, moral, scientific, historical, and philological issues.

While Americans have typically left the latter to the Italians, and the Singletonian era has passed for the others, still the volume under-represents the recent work in such fields by Boyde, Durling, Martinez, Scott, Mazzotta, Cornish, Kay, Morgan, Carugati, Armour, Ryan, Najemy, to name just a few among many practitioners , thus perhaps unconsciously helping to define such concerns as marginal in the current critical climate.

Madison: Fairleigh Dickinson UP, Chapter 1 reviews a series of related classical themes. Chapter 2 deals with Petrarch, beginning with his political views of Rienzi and the Visconti, and culminating in an analysis of the topos of fame in his Africa. The second of these, the dream in which Homer reveals to Ennius the future triumph of Scipio, is glossed as a form of "poetic metempsychosis" In Chapter 3, "The Quattrocento and Poliziano," Murphy begins by recounting how Vergerio and Salutati protested the destruction of the Mantuan statue of Virgil in Next, Murphy traces what he calls the tradition of "poetic paleology.

Here Murphy echoes the language of Vico, whose "theological poets" he finds foreshadowed in Petrarch, Boccaccio, and several Quattrocento humanists. There is much to admire and much to be learned in this voluble and often valuable study. Murphy has read widely in classical and humanistic scholarship, and judiciously deploys more recent critical notions in his interpretations. While his discussion of Greek and Roman texts holds many insights, the heart of the book is the heroic phase of Italian humanism from Petrarch to Poliziano. For all his speculation, Murphy generally writes lucidly, avoiding the jargon and convolutions that make theory so difficult to read.

True, there are occasional lapses, as when Murphy borrows from Foucault in discussing poetic inspiration : "The long tradition of poetic furor maintains the positive transcendent function of word magic inherited from archaic culture, before slipping into the status of mere illusion with the advent of modern madness" But Murphy is no ideologue, and among his modern guides only Vico recurs persistently.

This brief synopsis scarcely does justice to the richness of this volume.


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Floire and Blancheflor and the European Romance. Cambridge Studies in Medieval Literature, Cambridge: UP, Grieve is to be commended for tackling this forgotten text and its vast context. Chapter One discusses proper names, toponyms, genealogical evidence, and narremes. Such correspondences are helpful in attempting to establish textual relations; however, here they are not rigorously investigated. Ecdotic work is only hinted at by relying on disparate secondary authorities.

It is never clear how all the surviving witnesses and traditions fit together. Only after completing the painstaking philological groundwork can one begin to discuss the dependence of one strain or author on another. As it stands, the reader is left with an incoherent and unconvincing hodge-podge. The study is plagued by too many goals, resulting in its conflicting methodologies and lack of focus. It sometimes historicizes a text, elsewhere gestures in the direction of gendering, and also takes some tantalizing yet unfulfilled steps toward reception theory. The book could best be defined as a comparative study, yet its comparisons tend to be tenuous and not exhaustive: between one text and another, or one national tradition and another, or sometimes among three or four texts.

A less confusing approach would have been to simply compare the respective plots, characters, genealogies, motifs, etc. Grieve has unwittingly fallen into the chauvinism that ensnared so many nineteenth- and early twentieth-century editors and philologists, namely, the insistence upon the primacy of one text over another on nationalistic grounds.

Grieve also makes the unsupported claim that the Spanish prose romance may have "perhaps [reflected] what was in the lost part of the Italian Cantare" She confesses her difficulty with Filocolo: "In the beginning of the story. The second half of Chapter 5 attempts more straightforward Boccaccio criticism Filocolo on its own terms , but this attempt is weakened by a scant knowledge of other Boccaccio works and their critical reception.

It does not, however, offer sufficient proof that the newly identified Spanish MS was the original, nor does it furnish convincing evidence regarding its date of composition, nor does it supply a compelling reason why Boccaccio would have relied on a Spanish version. To her credit, Grieve does assemble a wealth of data and an extensive bibliography on the various European traditions of this medieval legend. The book will be useful for those interested in studying narrative motives such as the "vows of the peacock," the garden, or the shipwreck.

Broadly viewed, the study illustrates the intricate web of political, cultural, and literary relations between and among countries in the Middle Ages. Grieve also rightly points out the fluidity of medieval genres and the way in which different redactors shaped a story according to local needs. The book furnishes some precious evidence about female readership in the late Middle Ages and signals what sounds like a very interesting manuscript anthology to be examined in future cyclification studies.

Stanford: UP, In this engaging and substantial study, Wallace sets out to explore various Italian and English cultural events and their impact upon contemporary literary figures, most significantly Chaucer and the great Italian Trecento authors. Bringing considerable erudition to his analyses of literary works, Wallace situates the literary texts in relation to the interlinked sites of "medieval" London and "Renaissance" Florence, testing the validity of such terminology and suggesting that literary critics should instead "suspend belief in cultural partitions" 7.

The literary argument that Wallace makes about Chaucer is thus twofold: Chaucer can be profitably read in relation to his Italian predecessors, and, in turn, the study of Chaucer can provide significant resources and points of departure for the exploration of his predecessors in light of the political contexts of England and Italy. Visits to Florence, and then to Milan and Pavia, exposed Chaucer to the writings of Boccaccio and Petrarch in conjunction with other forms of cultural production both popular and devotional.

Chaucer, Wallace argues, encountered the Italian texts within the context of this Florentine-Lombard struggle, and hence his own understanding and appreciation of the texts themselves were informed by the political situations that helped shape them. Guild culture and female slavery in Florence had already shown Chaucer how women, "commodified as voiceless figures within a new symbolic order" 19 , posed the threat of coming to recognize their own symbolic significance, which in turn prompted misogynistic complaints from Boccaccio, Wallace finds.

Several chapters continue with analyses of the Canterbury Tales and its compagnye. Since Chaucer includes various subgroups as well as unassimilable individuals, Wallace, making clear that it should not be construed as an idealized associational form, explores the extent to which associational polity is refigured and foregrounded in specific tales.

The Law and How to Break It: Reading and Translating Ezra Pound’s Canto 22

Wallace maintains that gender politics in the Canterbury Tales , a recurring concern for both him and Chaucer, can help us explore aspects of statecraft that are problematic or contradictory, especially if gender theory is employed as a means of approaching medieval people as political subjects.

Wallace then travels informally along a trajectory that moves from associational to absolutist forms. From there Wallace offers a consideration of the interconnected activities of merchants and lawyers in relation to the Man of Law and his Tale. This short treatise dedicated to the empress Anne of Bohemia, Wallace argues, precipitates the rewriting of the F Prologue into the G version, which follows the precedent of Petrarchan humanism and rejects the vernacular poetics of Dante and Boccaccio. Catherine S.

Giuliana Berti. Bartolomeo Cerretani. Il dialogo della mutatione di Firenze. In her critical editions, Giuliana Berti brings to print two historical works by the Florentine Bartolomeo Cerretani of interest to historians and literary scholars alike. Cerretani also penned a third history in treatise form, the Storia fiorentina , which has also been edited by Berti but is not under review here. In the case of the Ricordi , Berti and her colleague Ezio Tongiorgi, following a trail of bibliographical clues and dead-ends, managed to locate a manuscript that had been lost since early this century.

Cerretani did not live to see the Sack, but he was certainly a witness to the ample difficulties facing his hometown after Not much is known of the author, and the extent of his education remains particularly unclear. What little one can learn from his writings is best found in his Ricordi. Following the common Renaissance practice of keeping a private book libro segreto , Cerretani recorded events of his own life as well as other items of interest in a book of memoirs.

He began his memoirs in , at the age of 26, and the content is quite revealing. The author chose to focus very little on himself, sticking instead to a detailed chronicle of contemporary events. His memoirs are deeply historical, and surprisingly impersonal, quite unlike other books of ricordi and ricordanze produced at the same time. The tone of the daily account varies. Cerretani sometimes takes the position of the man in the street, speaking broadly for public opinion. At the same time, the Ricordi assumes the tone of an insider, a figure closely tied to current events and with access to the closed circles in politics and society.

Given that Cerretani had served in both the republic and Medicean regimes in the first decades of the sixteenth century, we should not be surprised by this access. While he has praise for the broadly based government of the first republic , he is also sharply critical of its leading figures, Soderini in particular. He considers himself a supporter of the frate , but his support is qualified at times, particularly with regard to the Savonarolan movement at large.

Placing himself and his uncle in a list of supporters, the author includes his father as an opponent of the frate. Consequently the Ricordi certainly provides rich material for literary and psychoanalytic study. For historians, the very depth of detail makes the Ricordi an extremely important source on events of this period. It sheds further light on the components of a newly fashioned Medici power, the players, disputes, and negotiations involved, as well as contemporary attitudes toward the regime.

In this respect, they complement a host of already published chronicles, including those of Biagio Buonnacorsi, Piero Parenti, Bartolomeo Masi, Luca Landucci, and the well-known aphoristic ricordi of Francesco Guicciardini in providing a portrait of that age. Cerretani may have composed his memoirs in the manner that Marin Sanudo drafted his Diarii simply to serve as a notebook for a later work of history.

Consequently, his infrequent personal references may have been an aid to later recollection. However, the appearance of a first-person narrator also suggests that Cerretani wanted to insert himself in a history of Florentine affairs. The Dialogo is often cited as a source on political events in Florence and on perspectives regarding Savonarola from to Yet its content moves further afield, touching also on trendy intellectual issues of the day: Luther, Erasmus and Reuchlin, cabalism and astrology. Moreover, its presentation in the form of dialogue is both unique and significant.

The author turned to dialogue, as he writes in his preface, to find "nuovo modo allo scriverle" 4 , namely, the events that had occurred since the return of the Medici to Florence in Through dialogue, he was able to present a variety of perspectives on the recent past, perspectives that include both the Savonarolan and Medicean sides of the story.

Table of contents

The text itself is a conversation set within a series of narrative frames. At the outset, a character called Bartolomeo, presumably portraying the author, appeals to two fictional interlocutors to recount a past conversation. These characters, named Girolamo and Lorenzo, immediately bring to mind the famous figures of Savonarola and Il Magnifico. Girolamo and Lorenzo agree to replay their discussion for Bartolomeo, and thus a second narrative frame begins. These three enjoy a prolonged discussion before the third narrative frame commences with Girolamo and Lorenzo participating in a spirited dinner conversation with Rucellai and Francesco Guicciardini, then papal governor at Modena.

All four men are Florentine. Although some aspects of their conversation touch on ultramontane affairs, the bulk of the history under discussion relates to their native city. During the roadside meeting, the emphasis is on current events of European scope.

Girolamo and Lorenzo describe their travels north over the past eight years, following their departure from Florence in Girolamo explains the cabala which he has studied in Frankfurt with Reuchlin, and discusses the appearance, demeanor, and to a lesser extent the ideas of Erasmus and Luther. Giovanni Rucellai, who had participated in the plot to restore the Medici to Florence in , agrees to narrate events for his audience, but he requests the input of all speakers, notably Girolamo, whose Savonarolan tendencies are bound to run counter to his own.

Girolamo and all the conversants agree to pool their differing views of the past. Guicciardini even reassures his guests that their views will remain off the record In this manner, the speakers develop a collective account of events up to Their dialogue is a unique approach to representing history.

The emphasis is social and collaborative: the speakers seem to expect disagreement, even to welcome it. Since they differ fundamentally in their political and social outlooks, some disagreement does occur. Nonetheless, the tacit assumption of their talk is that truth can only follow the open airing of different perspectives. They find also room for agreement. In general, the genial disagreement contributes to a picture of the Savonarolan movement and their relations with other optimates in the city.

Perhaps one thing they shared in common was their disappointment at the fall of the Republic in We witness this sentiment in Girolamo and Lorenzo, who on that year chose to leave Florence rather than submit to the Medici regime. Writing the Dialogo in , Cerretani captures the pessimism of a Savonarolan movement with little hope of a return to their Grand Council and broad-based government.

Particularly in the Dialogo but also in the Ricordi , Cerretani remains an elusive figure. Berti does little to illuminate his past, or to shed light on the common threads of arguments between the two texts. Neither edition includes a biographical summary. Footnotes are sparse, limited generally to diacritical comments. No doubt, this was a deliberate strategy by Berti, who aimed to produce texts corresponding as much as possible to the original manuscript versions.

For those wanting to know more about Cerretani, there remains the copiously annotated version of the Dialogo , edited by Raul Mordenti Using the same scribal copy of the late s that Berti also uses, Mordenti offers an edition peppered with explanatory footnotes and accompanied by a thorough introduction and bibliography. In her versions of the Dialogo , for instance, she maintains the same paragraph breaks used in the manuscript, whereas Mordenti has inserted chapter breaks and even chapter titles of his own invention.

In a quick comparison between the manuscript and the published edition, this reviewer has found at least two lines that the editor had skipped; no such comparison was made for the Ricordi. Nevertheless, Berti has produced useful editions of valuable historical sources, preserving both the form and spirit of the manuscripts in the process. Collected Letters of a Renaissance Feminist. Diana Robin. Chicago: U of Chicago P, This book is part of a valuable series, edited by Margaret L. King and Albert Rabil, Jr. The editor and translator of the present volume has distilled a biography of Cereta from evidence found in these letters.

The lively prose translation will appeal to specialists and non-specialists alike. Diana Robin has nicely identified classical and contemporary humanist sources, motifs, and even lexicon that Cereta used. Many of the parallels to The Family could be considered conventional humanist topoi, but their frequency, language, and co-presence with letters addressed to Alberti family members should not pass by unremarked.

Apart from sketchy comments in the footnotes, the "edition" lacks a critical apparatus. There are no descriptions of the two extant manuscripts, whose readings differ, and no discussion of how the manuscripts and the Tomasini edition Padua, are related. Robin should have identified a base text and included a summary discussion of the textual relationships among the witnesses. Some sentences found only in Vat. Could Marc. Cereta herself refers to "the final draft.

The diligent reader is also perplexed by the inconsistent choices of titles for the letters. Footnotes explain that Robin has retitled certain letters and that the Vatican manuscript had an index with titles. Were these written by a contemporary book owner, by a modern librarian cataloguing the codex, or were they assigned by Cereta herself? Why do two dedicatory epistles and an epilogue appear in this edition as items 4, 6, and 5, respectively? Dates at the ends of letters reveal their chronology, and footnotes somewhat inconsistently give the order of the individual letters in each exemplar.

However, the original arrangement of the contents is not easily discernible. Yet the "Dialogue on the Death of an Ass" is now found at the end of the volume, almost as an afterthought. Robin should at least offer a statement justifying her rationale for her reordering and should clearly show in parentheses the original order. I do not wish these criticisms to detract from the inherent worth of this translation.

Cereta employed many predictable humanist tropes and relied on well-known classical sources as her male counterparts did, but in numerous passages a startlingly original female voice emerges. Space does not permit a complete discussion of the metaphors and passages particular to Cereta, but these include: a homology of embroidery and writing; vividly detailed descriptions of nature, birds, and animals; friendship as a plant which must be cultivated; passages of sincere piety; and eye-witness "war memoirs" which are more poignant than the drier pacificism of male humanists.

There are remarkable glimpses into Renaissance domesticity, such as a birthing scene within the circle of women attending the mother. In several letters, the young widow laments the death of her husband and even hints at the resulting economic and erotic deprivations this loss represented to a woman of her era. Classical antiquity and mythology are present, but Cereta suppresses elements of rape or incest to put a positive spin on her ancient female characters. In an innovative description of a Hades-like underworld, Cereta adopts the role of a female Orpheus seeking her dead spouse.

Recurrent, classically inspired images of Furies, madwomen, and female monstrosities suggest the suppressed rage Cereta felt as a woman whose considerable intellectual powers were too tightly contained by her society. Elsewhere, she fends off polemical attacks on her work, comparing herself to a lion, a tigress, and a she-wolf. This book traces the development of the episode in which a traveling knight, sometimes accompanied by his lady, arrives at a castle and is asked to abide by a strange, often unjust custom. In particular, Ross sets out to demonstrate how these "nuanced narratives explore the social limits of order, violence, justice, civility, and political conformity" xiii.

In moving from medieval to Renaissance, and from French to Italian to English, Ross aims to show how the episodes reflect changes in the function of custom and the authority of the past, related in part to two factors: "first, the transmutation of oral law into written law, and second, the transition from a French culture of customs to one which followed Roman or civil law and then on to England, a common law country" Combining a perceptive reading of romance with an extensive background in natural and customary law, Ross asks new questions about old texts, and he thereby enriches our own reading of romance.

While the early chapters leave some questions unanswered, the analysis is original, thought-provoking, and stimulating throughout. Ross sees the Weeping Castle episode as "an allegory of social pressure" in which the victorious Tristan, rather than eliminating an evil custom of judicial murder, conforms to the custom by beheading the defeated lord and lady of the castle. A way out is found only when Galahaut returns from self-imposed exile in protest of the custom to challenge Tristan and avenge the murder of his parents.

While Ross remarks that "Malory seems to have missed the point" 30 of the earlier text, he leaves the reader curious to hear more about the point Malory may have been trying to make. At the same time, by focusing attention on the serious issues at stake in this fictional form, Ross entices the reader to go back and reread these medieval narratives in a more probing way.

The underlying premise of the next section is that "the Italians developed a notion of civility to counteract a rigid social system increasingly dominated by foreigners during the sixteenth century" He examines a "custom of the castle" episode in Boiardo and Ariosto, the two masters of romance epic in the Italian Renaissance. Here, too, his analysis engenders additional questions. If Boiardo portrays Ranaldo negatively as getting caught up in the cycle of violence, does he also indicate how the knight should have reacted when attacked by the mob?

More generally, what is Boiardo saying about appropriate responses to foul customs? Although Bradamante is powerless to overturn a foul custom, she can be granted an exception through witty reasoning backed by martial prowess. Whereas in the first two chapters Ross tended to isolate single episodes, here he sustains his argument by comparing variations on the "custom of the castle" theme that stretch across The Faerie Queene. Further, he identifies an evolution within the poem itself. Whereas in the first half Spenser "generally looks to the distant past for those values that would fashion a gentleman to the ideals of chivalry," in the second installment he "seems to have struggled more openly with the relationship between social practice and values" Ross provides fresh and provocative readings of Hamlet and Macbeth , with additional insights into As You Like It , Twelfth Night , and the history plays, as well as an appendix on King Lear and Othello.

Ross cuts across temporal, spatial, and linguistic boundaries and brings philosophy, anthropology, socio-political history, and ethics to bear in his interpretation of chivalric fiction. Readers may find that the book leaves out their favorite "custom of the castle" episode which may or may not conform to the evolution that Ross traces. But this is really not the point. Did Boiardo, Ariosto, and Tasso consciously attempt to camouflage the classical sources of their epic poems? Is the Orlando furioso really a harmonious montage of classical and medieval sources as critics have traditionally contended or is its success a result of a disharmony of these elements?

These are only a few of the challenging questions Dennis Looney addresses in his provocative study , Compromising the Classics: Romance Epic Narrative in the Italian Renaissance. In discussing these poets, Looney considers how "narrative artists in the Renaissance renovated the popular genre of romance through their imitation of classic epic" In response to these static categorizations, the study suggests how these three Ferrarese poets "compromised" classical models "by incorporating them into the narrative structures of their vernacular poems" In doing so, the poets overcame, to some extent, the distinction between classical and medieval models in the construction of their narrative.

While some readers may find these diverse connotations confusing at times, Looney provides numerous examples to illustrate his meaning. The result is what Looney terms "the ambiguous generic status of the Furioso " Thus the critic prefers the term "romance-epic" over the more traditional "epic poem" to highlight the dual nature of these poetic works. In doing so, the poet utilized many of the same narrative devices that appear in the Innamorato.

Many of the sources which worked best for the Furioso are those that "straddle the realms of the classical epic and romance" The use of Ovid in particular allowed Ariosto simultaneously to allude to other narrative paradigms in his romance-epic and intentionally defy the neat generic categories of epic and romance. Compromising the Classics expands and problematizes the traditional interpretation of literary references in romance-epic poetry, particularly with respect to the Orlando Furioso.

Michael J. La fine degli incanti. Vicende del poema epico-cavalleresco nel Rinascimento. Milano: Francoangeli, Dialogue on the Infinity of Love. Rinaldina Russell and Bruce Merry. Chicago: Chicago UP, In Giuseppe Zonta published a critical edition of the text, which was reprinted and edited by Mario Pozzi in and Russell begins her introduction by remarking on the uniqueness and originality of this dialogue. The "right" to philosophize, or "the power of defining and naming," belonged unquestionably to men, Gerda Lerner affirms in The Creation of Feminist Consciousness Oxford: Oxford UP, , 5.

The "dialogic" genre, although lacking a theory of its own, was not associated with women writers, who were encouraged to prove their literary talent in devotional and love poetry. This is Moderata Fonte who discusses, among other subjects, the different kinds of human "love" in Il merito delle donne , written between and published in In fact she grounds the male-female bond on natural drives and mutual pleasure of body and soul, and perceives no separation between sensual and spiritual love.

Nancy K. The Catholic Church, in fact, reacted with forceful moral and religious conservatism to the Protestant Reformation. It is noteworthy that, although women did not write dialogues, within male-authored dialogues, "female interlocutors guaranteed by their sex the right to be decorously ignorant. By the end of the discussion, in fact, readers have no choice but to accept the one conception of love shaped by the character Tullia throughout the dialogue.

As Russell points out, the tension present in the dialogue does not reside in the dichotomy of opinions but in the difference of "temperament, mental idiosyncrasies and style of speech" 40 of the two main characters. La piazza universale di tutte le professioni del mondo. Torino: Einaudi. La piazza universale di tutte le professioni del mondo di Tomaso Garzoni fu pubblicata per la prima volta nel e fu ristampata una trentina di volte prima del ; fu tradotta in tedesco, in latino e adattata in spagnolo. La ricerca delle fonti offre un campione impareggiabile di quel fenomeno della riscrittura del secondo Cinquecento fenomeno recentemente sistemato da Cherchi nel suo Polimatia di riuso Roma, Bulzoni ; spiega in modo definitivo la supposta "erudizione" di Garzoni, e in moltissimi casi consente di sanare il testo o di spiegarlo in modo che sarebbe altrimenti impossibile.

La parte introduttiva contiene due saggi. Collina p. XCI sgg. Ogni tanto sorge qualche dubbio. Ad esempio lo "spartanamente" che si legge a p. Avrei corretto a p. In ogni modo, stando a quel che si dichiara a p. Ne voglio ricordare uno di Cherchi, il quale a p. Sono della "macule veniali", e con Orazio mi piace ripetere: "Ubi plura nitent non ego paucis offendar maculis, quas aut incuria fudit aut humana parum cavit natura" Ars poetica , sgg. Selected Letters of Alessandra Strozzi. Bilingual edition.

Berkeley, CA: U. This latest publication of the Biblioteca Italiana is a translation of 35 among the surviving letters by a Florentine widow of the fifteenth century. The book consists of an introduction, facing Italian and English translation, notes to the English translation by letter number, a bibliography, and an index.

The introduction is primarily historical. It contains a useful discussion of historiography and changes in approach to history in recent years, leading to an interest in its personal side. There are two little problems which stumped me between the introduction and letters. First, it is not always clear who is writing the letters. Are there differences in letters when she personally is writing as opposed to having letters written? It would be interesting to know. Furthermore, the actual number of letters was unclear until consulting the original edition.

The back cover notes 72 total letters; Gregory mentions 73 1 ; again, she also mentions 73 7 , yet on the same page speaks of the "thirty-seven letters which are not included" when she translates 35, which would make I presume the confusion is due to the extra letter printed as an appendix to the reprint.

The introduction therefore is historical and addresses a primarily non-Italian-speaking audience. I was unable to consult either the originals in the Archivio Fiorentino di Stato or reprint of the Guasti edition which contains an extra letter to compare the text. Neither Bianchini nor Gregory comments at any length upon the language; Gregory comments briefly upon the style and punctuation 8. This edition is clearly not intended for use by those specifically studying the language, which makes sense since it is a translation.

The facing English translation includes a summary of the content before each letter; where paragraphs are omitted, the translator specifies how many and summarizes the sections omitted. The explanatory notes are exclusively in the English portion, not the Italian. Guccini has gained the appreciation of critics and fans, who regard him as an iconic figure. The main instrument in most of his songs is the acoustic guitar. A leftist, though not a communist , Guccini dealt with political issues and more generally with the political climate of his time in some songs, such as "La Locomotiva" or "Eskimo".

Guccini was born in in Modena , Italy. Guccini's first job was as a teacher at a boarding school in Pesaro , but he was fired after a month and a half. He then worked as a journalist at the Gazzetta di Modena for two years. This inspired Guccini to write "L'antisociale", his first composition as a singer-songwriter. The group performed for two years, touring around Northern Italy and Switzerland. The next year he undertook mandatory military service, an experience he described as "substantially positive".

The song, though, was not selected for the event, [19] and Guccini was embittered by the edits made by two lyricists engaged by CGD. From onward, Guccini spent 20 years teaching Italian at the off-campus Dickinson College , in Bologna. In Guccini released his second album, Due anni dopo , recorded in the autumn of The main themes of the album are the passage of time and the analysis of everyday life in the context of bourgeois hypocrisy, [28] with a noticeable influence from French music [29] and from Leopardi 's poetic style.

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The title was a literary reference to Guido Gozzano , and the song "La collina" contained a reference to J. The turning point in Guccini's career was in thanks to the album Radici roots , about the perpetual search for one's origins. This was also conveyed by the image on the front cover of the album, portraying Guccini's grandparents and their siblings next to their old mountain home.

In Guccini released Opera buffa , a light-hearted and playful album, which showed his skills as an ironic, theatrical and cultured cabaret artist. Guccini had his first commercial success in , with Via Paolo Fabbri 43 , which was the sixth best-selling album of the year.

He sang with a more mature and determined voice, and the musical structure was more complex than in his earlier works. The most popular song was "Eskimo", but Guccini claimed the highest point was the title track, a ballad about an emigrant uncle of his. Guccini did not endorse the article, which was based on an interview he did not know would be published, [54] and commented: "I cannot understand how they chose that title, I write songs for an audience of people in their thirties, I do not see how an audience of sixteen year olds fresh out of school could relate with the things I say".

In they had a daughter, Teresa, to whom the songs "Culodritto" and "E un giorno The first album released by Guccini in the eighties was Metropolis , which was characterised by the description of cities with a symbolic value: Byzantium , Venice , Bologna and Milan. Their histories mingle with the distress caused by life in the city and with symbolic references. The song is set at the time of Emperor Justinian I — , and there are many historical references to that period, that have been explained by Guccini himself.

The song was praised by critic Paolo Jachia, who described it as "moving and dreamlike". It included live versions of many of his popular songs, recorded mainly at a concert held in Piazza Maggiore in Bologna , in which several guests performed alongside Guccini: Giorgio Gaber , Paolo Conte , I Nomadi , Roberto Vecchioni and Equipe In the album Signora Bovary was released.

Several of the songs portray people from Guccini's life: "Van Loon" is his father, "Culodritto" is his daughter Teresa, and "Signora Bovary" is himself. In Guccini released Quello che non It was three years until he released his next album, D'amore di morte e di altre sciocchezze , which achieved significant commercial success. Stagioni was Guccini's first album of the s. The key theme is the passage of time and the different temporal cycles connected to it.

In Guccini released Ritratti. Some of the songs contained in the album are imagined dialogues with historical figures, such as Odysseus , Christopher Columbus and Che Guevara. Anfiteatro Live was a commercial success, holding the number one spot in the FIMI Chart for one month, and remaining in the chart for twenty-two weeks. On 21 April , an article on La Stampa affirmed that Guccini had stopped smoking, and that this had caused him to gain weight and lose his inspiration. In the Mondadori published Non so che viso avesse , a book which contains a Guccini autobiography and, in the second part of the book, a critical essay edited by Alberto Bertoni.

On 28 September the collection Storia di altre storie was released, with songs selected by Guccini himself.

The Two Cultures: Shared Problems | SpringerLink

In the article about the discovery on the botanical magazine Piante Grasse , Donati explained that he discovered the unknown plant whilst listening to Guccini's "Incontro", adding: "I could not have named it after anyone else". Dario Fo [93]. Guccini's lyrical and poetic style has been praised by many, including famous authors and singer-songwriters.

Despite the length of his career, there are some defining characteristics, such as the use of different registers , the literary references to several writers, and the use of a variety of themes in order to reach moral conclusions. His lyrics frequently have a metaphysical tone and existential motifs, and are often centered around portrayals of people and events. Most of his songs, especially early in his career, are folk rock.

Guccini has been seen as a sociopolitical chronicler and some of his songs express his opinion about a political issue. In "La primavera di Praga", he expressed criticism of the Sovietic occupation of Czechoslovakia in , and "Piccola storia ignobile" supported the Italian abortion law. Guccini defines himself an anarchic , [98] and he expressed his thoughts about the relation between music and politics in his song "L'avvelenata"; "I have never said that with songs you can make revolutions, nor that you can make poetry.

In his career as a writer, Guccini published several novels and essays, experimenting with different genres. Guccini recounts stories he heard from elderly people living on the Tuscan Apennines ; critics praised the "philological accuracy" of the book. Guccini has also worked as a comics artist. He is a lover of comics, and some of his songs reference them. Guccini's first experience as actor was in the movie Fantasia, ma non-troppo, per violino , directed by Gianfranco Mingozzi, in which he played Giulio Cesare Croce , a poet who narrates the history of Bologna.

From the Club Tenco :. Awards won in collaboration with Loriano Macchiavelli :. From Wikipedia, the free encyclopedia. For the album, see Guccini album. Pop beat. Guccini said about "Amerigo": "It is the most complete, refined, rich of themes, and maybe most beautiful song I've ever written" [50].

Guccini is the voice of what was once called the "social movement". Now it's simply a voice of truth, of rock-like coherence with its own language and thoughts. In his works there's a never-ending discourse about irony, friendship and solidarity. Quotidiano in Italian. Retrieved 19 October