32 research outputs found
Silence and Voices in Jamesâs Venice
Henry Jamesâs descriptions, rich in visual details, often seem âmutedâ from the point of view of sound. However, one particular sound seems to interest him more and more through the years: voices. In his works on Venice, voices seem to acquire a special value against the silence of the city, i.e. the absence of mechanical noises. Voices belong to people, but also to Venetian buildings, forecasting the use of voices regularly attributed to buildings in The American Scene. In Venice, gondoliersâ voices have a special relevance: in spite of their âcontempt for consonants and other disagreeablesâ James does not seem to condemn them, on the contrary he appreciates them. An odd position for a writer who criticized harshly the language of American women and of ethnic groups in America. The reason may be ascribed to the fact that Italian is not the beloved language of Shakespeare and of American democracy, but also to the dreamlike quality of the city, or to the writerâs seeing Venice as a woman with whom he falls in love
L'importanza del programma Fulbright per Ca' Foscari
The paper deals with the Fulbright exchange program, started by Senator James W. Fulbright in 1946, and active in Italy from 1948, when the Italian government signed the agreement. The Fulbright program was essential in the life and career of many Italian scientists, artists, musicians, etc. and it was very important in opening up American studies at Ca' Foscari, one of the very first universities, with Roma La Sapienza, to start a separate course of American studies in Europe
Auf schwankendem Grund. Dekadenz und Tod im Venedig der Moderne
Anlass des Bandes ist das Centenarium von Thomas Manns Novelle "Der Tod in Venedig" (1912), in der Gustav von Aschenbach als ein der historischen Wissenschaft verpflichteter Schriftsteller in unsicheres Terrain jenseits rationaler Begrifflichkeit gerĂ€t, ins Sehnsuchtsland der Liebe und des Schönen, und schlieĂlich in einen Grenzbereich, in dem alles Gestaltete ins Gestaltlose und schlieĂlich in den Tod ĂŒbergeht. Venedig um 1900, die auf Wasser gebaute, einstige Seerepublik in politischer Dekadenz ist nicht zufĂ€llig dafĂŒr topisch, und Aschenbach mit seinen ethischen, Ă€sthetischen und epistemologischen ErschĂŒtterungen in Venedig nicht allein. Venedig prĂ€gte seine eigene Moderne aus und wurde als physisch erlebter wie imaginierÂter Ort fĂŒr Dichter, Maler und Musiker zum Spiegel der Krisenerfahrungen um 1900. Anders gesagt: Die Stadt fungierte als Seismograph, mit dem sich der Verlust metaphysischer Gewissheiten, der Verlust des Vertrauens in die Evidenz des Wissens, in die Einheit der Person und der ZuverlĂ€ssigkeit der Sprache aufzeichnen lieĂ. Die Unbestimmtheit, der Kontrollverlust, die der LaguÂnenstadt eigene Bewegung âșauf schwankendem Grundâč wird bei Thomas Mann und seinen Zeitgenossen zum Motor der KreativitĂ€t
Six Poems with an Essay : Introduction
Introduction to Margaret Atwood's Six Poems with an Essa
Editor's Note
Introduction to issue
Torcello: From John Ruskin and Henry James to Ernest Hemingway
Draws parallels between Hemingwayâs descriptions of Torcello found in Across the River and into the Trees and âTorcello Pieceâ to Ruskinâs The Stones of Venice (1851) and Jamesâs âVenice: An Early Impressionâ and âVenice,â reflecting on their thematic treatment of beauty and destruction. Zorzi links Hemingwayâs aesthetic connection of faith and art to Ruskin
The Lost Generation and World War I
In her study of the impact of World War I on a range of American modernists, Zorzi devotes her greatest attention to Hemingway. Notes that while John Dos Passos and others drew on personal experience in their thematic explorations of the senselessness of war, F. Scott Fitzgerald and William Faulkner nourished their imaginations through reading and research. Discusses Hemingwayâs reliance on both to capture places and events of which he had no direct knowledge, such as the retreat at Caporetto described in A Farewell to Arms. Also discusses the authorâs early poetry, vignettes from In Our Time, Across the River and into the Trees, and short stories set in wartime Italy. Features a dozen black-and-white photographs. In English and Italian