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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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In the light of such a line of thought, this paper aims to show how Levi faces the extreme environment of the concentration camp: on the one hand he is a prisoner, trapped in an eternal present by physiological needs; on the other, he uses his mind to distance himself from his actual situation, prefiguring a future narration that proves to be a means of resistance and an eventual source of immanent salvation. The anthropological connotation of Levi's inquiring outlook on the condition of people in Auschwitz leads to ethical considerations that are valid for mankind in general, both inside and outside the Lager, and pertain to showing what human beings never cease to be capable of, be it good or evil.

Awareness of this anthropological limit, which is inherent to mankind, is the necessary premise for a fuller understanding of humanity. Sara Boezio - University of Warwick.


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According to the polymath Max Nordau, literature has a massive influence on life and is to be considered one of the primary sources of the degenerative process characterising the culture of the second half of the 19th century, as he claims in his book Degeneration, published in German Entartung in and translated into Italian in The feeling of bewilderment stemming from the decline of philosophical systems like Positivism faced by the Western society is deemed, in his personal interpretation of the Darwinian evolutionistic paradigm, a sign of the degeneration of the entire European society.

Nordau is also strongly influenced by the research about men of genius carried out by the Italian physician and anthropologist Cesare Lombroso who is also the dedicatee of Degeneration. While this process was global to Europe, I explore and highlight its peculiarities in the Italian context, by looking at the role as a mediator played by Nordau.

Books by Eugenio Garin (Author of L'uomo del Rinascimento)

The analysis takes into consideration both novels and literary reviews in order to compare the praxis and the theory of Italian writers and critics. Her interests were concentrated on Renaissance literature and on the relationship between poetry and figurative arts; she studied particularly the poems of the painter-poet Bronzino.

Sara Boezio also has a vivid interest for questions in literary theory and cognitive poetics. In particular her interests lie in how the cognitive science can influence and contribute to studies in literature. She investigates how, when sociology and psychology were just beginning to come to light, intellectuals tried to answer the question about the origin of creativity by putting together the intuitions both of literary scholars and of scientists. This paper explores the authority of the celebrity Anglophone travel writer in fashioning an image of Italy, as compared to the little known Italian authorship.

VIII Annual Graduate Studies Conference in Italian Studies

Underpinned by mobility studies, travel writing and post-colonial theory, my paper will further examine the question of cultural knowledge of the Other through language acquisition. Essentially operating within early nineteenth-century Italian space, both authors embody a dichotomous gaze on Italy, from within Italy, and without.

Her thesis, Italian Vistas: Mobilities, Texts and Intertexts of Nineteenth-Century Italian and Anglophone Women Travel Writers, is a comparative, cross-cultural project, which analyses little known Italian travel texts, as compared to celebrity Anglophone authorship on Italy during the post-Napoleonic epoch. The recipient of an Irish Research Council Postgraduate Scholarship in , she hopes to publish a monograph based on her research. This paper will focus on an analysis of the representation of the wet nurse in the Birth of the Virgin scene, and its didactic role to instruct future generations of female family members of their duties as Florentine women.


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  • It will be demonstrated that the wet nurse acts within this image as a personification of a female member of the Tornabuoni family of child-bearing age, namely Giovanna degli Albizzi, the daughter-in-law of the family patriarch who had recently died in childbirth attempting to produce a second son for her husband. A number of elements of the fresco will be analysed to support this thesis, including an examination of the necklace worn by the wet nurse, which appears to be markedly similar to a necklace worn by Giovanna in a number of other scenes and images in which she appears.

    No other representation of a female servant in this cycle wears such a pendant.


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    This raises the question as to why Giovanni, who carefully devised the extensive programme for each of these episodes, would choose to have the woman in question depicted wearing this distinctive piece of Tornabuoni jewellery. The second aspect of the scene to be explored is the interaction between the wet nurse and the swaddled child. Through consultation of various sources of law, proceedings documents and legal journals, I focus on what happened at crucial moments in the life of a woman, such as marriage or at the time of widowhood, and therefore inheritance, in the Papal State in the period between the Restoration and the Pisanelli Code The Papal State, as well as the Italian peninsula as a whole, was characterized by a strong cultural and economic backwardness.

    The woman, regardless of her social class, was juridically unable; she could not undertake any major act of civil life without the consent of her father, her husband or a court.

    Books by Eugenio Garin

    Besides, during the nineteenth century, women in the Papal States, as in other areas, experienced a loss of status: in the early years of the Restoration, the return to the legislation in force before the Napoleonic conquests constituted a deterioration in their legal status. Then, various subsequent motu proprio before the unification of Italy, instead of improving the status of women, marked a process of their gradual marginalization from the dynamics outside their homes.

    In other words, it went from an arithmetical definition to a random concept of appropriateness. My research interests cover women rights in the centre-north of the Italian peninsula in the nineteenth century. Taking on board the insights presented by Artemisia's modelling of herself, my essay looks with fresh eyes at Artemisia's most notorious work — Judith Beheading Holofernes. To say that gender is performative is to say that it is a phenomenon which is constantly manifesting itself — it is a conscious adoption of certain cultural practices and norms which produce a particular effect or appearance, these then becoming manifest through the subject.

    This opposes the view that gender is merely a biological fact which is determined at birth. This makes clear how she adopted a unique visual language which allowed her art to take on a more striking meaning and impact in the male-dominated discipline of 17th Century Italian art. Flavio Boggi in September My main research interests lie in the art of the Italian Renaissance, with issues involving philosophical constitutions of self and art as manifestations of deep inner subjective reflection being at the heart of my work. In entrambi i casi, la violenza sessuale si tramuta presto in un rapporto di problematica consenzienza tra i due partner in cui i ruoli di vittima e carnefice sembrano sfumare e, apparentemente, contraddire le teorie sullo stupro come strumento di dominio patriarcale elaborate dal femminismo internazionale Brownmiller ; Griffin However, women are rarely depicted as having consciously chosen to engage in violence, as to accept a woman's agency in a crime dismantles the belief that women are inherently peaceful.

    Depicted as 'mad' or 'bad', violent women's actions are 'explained away' by the media, while no such explanation seems necessary when covering a male perpetrated crime story. Marco De Franchi opts for an alternative approach in his crime novel, La carne e il sangue , focusing on normalizing the figure of the female terrorist rather than depicting her as an exception to the norm. Serena, a police detective in charge of this case, continues to contemplate what she would do if she were in the militant woman's place.

    Lucia, wife to Stefano and mother to Valerio, works in a hospital in Florence and seems to lead a 'normal' middle-class life. However, unknown to her family, she is also an active member of The New Red Brigades, adopting the nom de guerre 'Federica', when in her militant role. Volume 33 , Issue 2. If you do not receive an email within 10 minutes, your email address may not be registered, and you may need to create a new Wiley Online Library account. If the address matches an existing account you will receive an email with instructions to retrieve your username.

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