Access your Project MUSE content using one of the login options below Close(X)
Browse Results For:
"Re-writing" and the "Hermeneutic Attitude"
After Machiavelli is an examination of the triangular relationship of "re-writing"-a dynamic process encompassing both creative newness and awareness of historical profundity"-the "hermeneutic attitude:' and Machiavelli's poiesis. Specifically, it addresses four questions: First, to what degree can we speak of intersection (interaction) among this triad? Second, what common ground do all three actually share? Third, in what particular manner do the act of "re-writing" and the "hermeneutic attitude" manifest themselves in the writings of Niccoli Machiavelli? And last, what bearing does this have on the reader, heir to Machiavelli's literary legacy?
Dante and the Poets
While the structure and themes of the Divine Comedy are defined by the narrative of a spiritual pilgrimage guided by Christian truth, Winthrop Wetherbee’s remarkable new study reveals that Dante’s engagement with the great Latin poets Vergil, Ovid, Lucan, and Statius constitutes a second, complementary narrative centered on psychological and artistic self-discovery. This fresh, illuminating approach departs from the usual treatment of classical poets in Dante criticism, which assigns them a merely allegorical function. Their true importance to Dante’s project is much greater. As Wetherbee meticulously shows, Dante’s use of the poets is grounded in an astute understanding of their historical situation and a deeply sympathetic reading of their poetry. Dante may have been motivated to correct pagan thought and imagery, but more pervasive was his desire to recreate classical style and to restore classical auctoritas to his own times. Dante’s journey in the Commedia, beginning with the pilgrim’s assumption of a tragic view of the human condition, progresses with the great poetry of the classical past as an intrinsic component of—not just a foil to—the spiritual experience. Dante ultimately recognizes classical poetry as an essential means to his discovery of truth. A stunning contribution by one of the nation’s leading medievalists, Wetherbee’s investigation of the poem’s classicism makes possible an ethical and spiritual but non-Christian reading of Dante, one that will spur new research and become an indispensable tool for teaching the Commedia.
The Church of Solitude tells the story of Maria Concezione, a young Sardinian seamstress living with breast cancer at the cusp of the twentieth century. Overwhelmed by the shame of her diagnosis, she decides that no one can know what has happened to her, but the heavy burden of this secrecy changes her life in dramatic ways and almost causes the destruction of several people in her life. This surprising novel paints the portrait of a woman facing the unknown with courage, faith, and self-reliance, and is the last and most autobiographical work of Grazia Deledda, who died of breast cancer in 1936, shortly after its publication. An afterword by the translator offers additional information on the author and examines the social and historical environment of that time.
Aesthetics of the Italian Art Film
A Cinema of Poetry brings Italian film studies into dialogue with fields outside its usual purview by showing how films can contribute to our understanding of aesthetic questions that stretch back to Homer. Joseph Luzzi considers the relationship between film and literature, such as the cinematic adaptation of literary sources, and more generally the fields of rhetoric, media studies, and modern Italian culture. The book balances theoretical inquiry with close readings of films by the masters of Italian cinema: Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Michelangelo Antonioni, Federico Fellini, Pier Paolo Pasolini, and Bernardo Bertolucci, among others. Luzzi's study is the first to show how Italian filmmakers address such crucial aesthetic issues as the nature of the chorus, the relationship between symbol and allegory, the literary prehistory of montage, and the place of poetry in cinematic expression—what Pasolini called the "cinema of poetry." While Luzzi establishes how certain qualities of film—its link with technological processes, capacity for mass distribution, synthetic virtues (and vices) as the so-called total art—have reshaped centuries-long debates, A Cinema of Poetry also explores what is specific to the Italian art film and, more broadly, Italian cinematic history, which lends to this national cinema its unique aesthetic perspectives. In other words, what makes this version of the art film recognizably “Italian"?
Dante put Muhammad in one of the lowest circles of Hell. At the same time, the medieval Christian poet placed several Islamic philosophers much more honorably in Limbo. Furthermore, it has long been suggested that for much of the basic framework of the Divine Comedy Dante was indebted to apocryphal traditions about a “night journey” taken by Muhammad. _x000B__x000B_Dante scholars have increasingly returned to the question of Islam to explore the often surprising encounters among religious traditions that the middle ages afforded. This collection of essays works through what was known of the Qur’an and of Islamic philosophy and science in Dante’s day, and explores the bases for Dante’s images of Muhammad and Ali. It further compels us to look at key instances of engagement among Muslims, Jews, and Christians.
Theology as Poetry
In Dante's Commedia: Theology as Poetry, an international group of theologians and Dante scholars provide a uniquely rich set of perspectives focused on the relationship between theology and poetry in the Commedia. Examining Dante's treatment of questions of language, personhood, and the body; his engagement with the theological tradition he inherited; and the implications of his work for contemporary theology, the contributors argue for the close intersection of theology and poetry in the text as well as the importance of theology for Dante studies. Through discussion of issues ranging from Dante's use of imagery of the Church to the significance of the smile for his poetic project, the essayists offer convincing evidence that his theology is not what underlies his narrative poem, nor what is contained within it: it is instead fully integrated with its poetic and narrative texture. As the essays demonstrate, the Commedia is firmly rooted in the medieval tradition of reflection on the nature of theological language, while simultaneously presenting its readers with unprecedented, sustained poetic experimentation. Understood in this way, Dante emerges as one of the most original theological voices of the Middle Ages.
Women Warriors and the Medieval Imagination in the "Orlando furioso"
Genealogies of Fiction is a study of gender, dynastic politics, and intertextuality in medieval and Renaissance chivalric epic, focused on Ludovico Ariosto's Orlando furioso. Relying on the direct study of manuscripts and incunabula, this project challenges the fixed distinction between medieval and early modern texts and reclaims medieval popular epic as a key source for the Furioso.Tracing the formation of the character of the warrior woman, from the amazon to Bradamante, the book analyzes the process of gender construction in early modern Italy. By reading the tension between the representations of women as fighters, lovers, and mothers, this study shows how the warrior woman is a symbolic center for the construction of legitimacy in the complex web of fears and expectations of the Northern Italian Renaissance court.
Keys to the "New Science"
Giambattista Vico: Keys to the "New Science" brings together in one volume translations, commentaries, and essays that illuminate the background of Giambattista Vico's major work. Thora Ilin Bayer and Donald Phillip Verene have collected a series of texts that help us to understand the progress of Vico's thinking, culminating in the definitive version of the New Science, which was published in 1744.
Bayer and Verene provide useful introductions both to the collection as a whole and to the individual writings. What emerges is a clear picture of the decades-long process through which Vico elaborated his revolutionary theory of history and culture. Of particular interest are the first sketch of the new science from his earlier work, the Universal Law, and Vico's response to the false book notice regarding the first version of his New Science.
The volume also includes additions to the 1744 edition that Vico had written out but that do not appear in the English translations-including his brief chapter on the "Reprehension of the Metaphysics of Descartes, Spinoza, and Locke"-and a bibliography of all of Vico's writings that have appeared in English. Giambattista Vico: Keys to the "New Science" is a unique and vital companion for anyone reading or rereading this landmark of Western intellectual history.
Law and Gender in the Decameron
The Governance of Friendship: Law and Gender in the Decameron by Michael Sherberg addresses two related and heretofore unexamined problems in the pages of the Decameron: its theory of friendship and the legal theory embedded in it. Sherberg shows how Aristotle’s Ethics as well as Thomas Aquinas’s Summa Theologica inform these two discourses, at the intersection of which Boccaccio locates the question of gender relations which is one of the book’s central concerns.
Vol. 23 (2005) through Vol. 26 (2008)
Italian Culture, the official publication of the American Association for Italian Studies (AAIS), is an annual refereed journal published by Michigan State University Press. Its interdisciplinary scope reflects the broad and diverse interests of the Association's members, offering subscribers scholarly articles in Italian language, linguistics, history, literature, cinema, politics, philosophy, folklore, popular culture, migration, and the influence of Italy on other cultures. It also includes articles in comparative literature and cultural studies.