Italica

Print ISSN: 0021-3020
Publications
This follow-up to two previous studies provides a list of dissertations in the area of Italian studies, mainly literature, either completed since 1971 or currently in progress. (Author/KM)
 
A national survey sought data on fall 1990 enrollments in Italian classes in U.S. colleges and universities, including junior and community colleges, to supplement previous surveys. Findings show that Italian is regularly taught in 370 institutions with a total combined enrollment of 44,102 students. Institution-by-institution data are tabulated. (Contains 14 references.) (LB)
 
CONTENIDO: V. 1 SPAGNOLO-ITALIANO. -- V. 2 ITALIANO-SPAGNOLO
 
This quarterly bibliography includes books, articles, bibliographies and reviews published here or abroad by scholars residing in the United States or Canada. Coverage includes comparative literature studies; translations; publications on art, music, philosophy, history, cinema, and sociology; and studies pertinent to the Italian-American experience. (CFM)
 
1. publ Bibliogr. na s. 233-242
 
Typescript (photocopy). "Graduate Program in Italian." Thesis (Ph. D.)--Rutgers University, 1984. Includes abstract. Vita. Includes bibliographical references (leaves 292-301).
 
Thesis--Università di Roma. "Catalogo": p. [71]-115. Includes bibliographical references (p. 117-118). Includes indexes.
 
Thesis, Columbia University. Bibliography: leaves 303-310.
 
This program of Italian studies considers five areas of major importance. The college student is advised on: (1) the study of Italian in the United States, (2) preparation for the study of Italian, (3) studying the language, (4) the study of literature, and (5) related studies and study abroad. The section on language study emphasizes a review of new techniques, the importance of reading, linguistics, and other "tools" for language study. Reference is frequently made to specific literary texts. (RL)
 
"This is far more than an essay on Dante as Aristotelian; the subtlety and refinement of Cogan's explication of the distinctions between Aristotle and medieval Aristotelianism, and between theological appropriations of Aristotle and Dante's highly specific strategies of use of Aristotle to both organise and liberate his poetic program, guarantees a reorientation of the long scholarly debate on Dante's philosophical positions and allegiances." --Nancy S. Struever, Professor, Humanities Center, Johns Hopkins University The most important clue to an understanding of the Divine Comedy lies within this volume. The Design in the Wax recovers the specifically medieval interpretation of the structure which underlies each part of the poem and the poem as a whole, and shows readers how to discover the single consistent principle which organizes each part and the overall narrative. The incidents of the poem would remain hopelessly ambiguous were it not for the philosophical and theological distinctions embodied in the structure of the narrative, in whose light it is possible to reduce the ambiguity of concrete incidents to their intended allegorical content. Through medieval interpretations of Dante's sources, Marc Cogan discovers a single consistent moral and theological principle organizing each of the sections of the poem and its overall narrative. He argues that, using one common principle, Dante brings the separate allegories of the Inferno, Purgatorio, and Paradiso together into one great allegory, making the transformation of the principle into an ordered set of variations on the theme of love and its representation in human beings as the image of God. This allegory, he points out, provides a meditation on the nature of God and the capacities of human beings. The Design in the Wax is a thought-provoking tool for all students of the Divine Comedy interested in studying Dante's calculated use of poetry to overcome the limits of human understanding. Marc Cogan is Associate Professor in the Department of Humanities at Wayne State University in Detroit. He is the author of The Human Thing: The Speeches and Principles of Thucydides' History.
 
Critically engaging the thought of Heidegger, Gadamer, and others, William Franke contributes both to the criticism of Dante's Divine Comedy and to the theory of interpretation. Reading the poem through the lens of hermeneutical theory, Franke focuses particularly on Dante's address to the reader as the site of a disclosure of truth. The event of the poem for its reader becomes potentially an experience of truth both human and divine. While contemporary criticism has concentrated on the historical character of Dante's poem, often insisting on it as undermining the poem's claims to transcendence, Franke argues that precisely the poem's historicity forms the ground for its mediation of a religious revelation. Dante's dramatization, on an epic scale, of the act of interpretation itself participates in the self-manifestation of the Word in poetic form. Dante's Interpretive Journey is an indispensable addition to the field of Dante studies and offers rich insights for philosophy and theology as well.
 
This work is a guide to the reading of Dante's great poem, intended for the use of students and laymen, particularly those who are approaching the Inferno for the first time. While carefully pointing out the uniqueness, tone, and color of each of Dante's thirty-four cantos, Fowlie never loses sight of the continuity of the poet's discourse. Each canto is related thematically to others, and the rich web of symbols is displayed and disentangled as the poem's unity, patterns, and structures are revealed. What particularly distinguishes Wallace Fowlie's reading of the Inferno is his emphasis on both the timelessness and the timeliness of Dante's masterpiece. By underlining the archetypal elements in the poem and drawing parallels to contemporary literature, Fowlie has brought Dante and his characters much closer to modern readers.
 
How do the living maintain relations to the dead? Why do we bury people when they die? And what is at stake when we do? In The Dominion of the Dead, Robert Pogue Harrison considers the supreme importance of these questions to Western civilization, exploring the many places where the dead cohabit the world of the living—the graves, images, literature, architecture, and monuments that house the dead in their afterlife among us. This elegantly conceived work devotes particular attention to the practice of burial. Harrison contends that we bury our dead to humanize the lands where we build our present and imagine our future. As long as the dead are interred in graves and tombs, they never truly depart from this world, but remain, if only symbolically, among the living. Spanning a broad range of examples, from the graves of our first human ancestors to the empty tomb of the Gospels to the Vietnam Veterans Memorial, Harrison also considers the authority of predecessors in both modern and premodern societies. Through inspired readings of major writers and thinkers such as Vico, Virgil, Dante, Pater, Nietzsche, Heidegger, and Rilke, he argues that the buried dead form an essential foundation where future generations can retrieve their past, while burial grounds provide an important bedrock where past generations can preserve their legacy for the unborn. The Dominion of the Dead is a profound meditation on how the thought of death shapes the communion of the living. A work of enormous scope, intellect, and imagination, this book will speak to all who have suffered grief and loss.
 
A gifted poet, a women's rights activist, and an expert on moral and natural philosophy, Lucrezia Marinella (1571-1653) was known throughout Italy as the leading female intellectual of her age. Born into a family of Venetian physicians, she was encouraged to study, and, fortunately, she did not share the fate of many of her female contemporaries, who were forced to join convents or were pressured to marry early. Marinella enjoyed a long literary career, writing mainly religious, epic, and pastoral poetry, and biographies of famous women in both verse and prose. Marinella's masterpiece, The Nobility and Excellence of Women, and the Defects and Vices of Men was first published in 1600, composed at a furious pace in answer to Giusepe Passi's diatribe about women's alleged defects. This polemic displays Marinella's vast knowledge of the Italian poetic tradition and demonstrates her ability to argue against authors of the misogynist tradition from Boccaccio to Torquato Tasso. Trying to effect real social change, Marinella argued that morally, intellectually, and in many other ways, women are superior to men.
 
Ralph Nash, in his approach to Gerusalemme Liberata, concluded that a close, fluent translation in prose of Tasso's epic would offer the most successful rendering of this important chivalric romance. In addition to conveying the imagery more accurately, a prose translation avoids deforming or modifying the text by forcing it into a poetic format. As a result, Nash has given the general reader and the student a fluent, accurate English version of Tasso's great narrative of the first crusade. Nash's introduction aids the reader in understanding the place of the poem in the corpus of Renaissance literature. Annotations and a glossary clarify the numerous historical, geographical, and mythological references.
 
Issues related to school instruction in students' heritage or ancestral language are discussed, particularly in regard to dialect-speaking children or children with some degree of competence in the language. The first chapter considers similarities and differences between second language instruction and heritage language education. The findings on ancestral language maintenance in immigrant children are also discussed for the benefit of teachers. Chapter 2 looks closely at the crucial question of the difference between the standard target language and the variant forms, known by the students (i.e., dialects or regionally-determined variants), as it relates to classroom instruction. The third chapter draws a psychological profile of the heritage language learner, focusing on existing linguistic knowledge and its pedagogical implications. Chapter 4 looks at the literature on errors in language learning and relates it to heritage language teaching. The final chapter addresses practical instructional issues such as curriculum design and content. (MSE)
 
Thesis (Ph. D.)--University of Illinois, 1966. Vita. Includes bibliographical references (leaves 141-148). Microfilm. s
 
Denza Dellara is a clumsy Cinderella too big for her hand-me-downs, saddled with a family that frustrates her hopes, and in love with a gargantuan Prince Charming who woos and then betrays her. An engaging Frog Prince appears, and though he has an enormous wart on his forehead, he can end her daydreaming and save her from impending spinsterhood . . . if she lets him. "[S]he depicts mean, cramped lives, with a ruthless eye [and] precise strokes [to] convey the greatest sadness with the lightest poetic touch." --Italo Calvino "As a literary creation, Denza couldn't be more convincing--real and smart enough to dispel any pity for her ignorant provincialism and to imply that occasionally she is as conscious of the ironies of her situation as the reader is. Masterpiece!" --Booklist, starred review This 1885 novella, which reappeared in 1973 under the editorship of the late Italo Calvino, was the most celebrated work of a pseudonymous Italian writer who may remind contemporary readers of an edgier, funnier George Sand. . . . A trailblazing work, in its way, and a most welcome rediscovery." --Kirkus Reviews
 
Thesis (Ph. D.)--University of Texas at Austin, 1987. Includes bibliographical references (leaves 374-385). Photocopy.
 
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