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Abstract : Uno dei filoni di maggior successo commerciale del cinema popolare italiano degli anni Cinquanta è quello della cosiddetta 'commedia di microambiente'. Si tratta di un corpus relativamente omogeneo di pellicole girate generalmente in esterni reali, incentrato sul trattamento 'leggero' della vita quotidiana di un gruppo di personaggi proletari o piccolo-borghesi appartenenti alla stessa comunità urbana. La critica cinematografica del tempo le ha affibbiato l'etichetta svalutativa di 'neorealismo rosa' per lamentare il presunto svilimento dei caratteri più significativi del neorealismo storico, come per esempio l'uso di location autentiche in luogo dei teatri di posa a fini di semplice decorativismo scenografico. La differenza tra la rappresentazione del paesaggio nel neorealismo e nel neorealismo rosa non può essere negata, ma alcune commedie di microambiente mostrano in realtà un trattamento dello spazio tutt'altro che ingenuo. Attraverso l'analisi del film RACCONTI ROMANI (1955) di Gianni Franciolini, adattamento cinematografico dell'omonima raccolta di novelle moraviana e pellicola particolarmente rappresentativa del genere, l'autore mostra che il rifiuto dei siti originali a favore di location emblematiche della capitale si accompagna all'adozione di strategie di messa in scena dal grande potenziale fascinatorio, tese a favorire meccanismi di proiezione e identificazione nello spettatore italiano del tempo.
El presente volumen recopila un conjunto de propuestas didácticas y metodológicas implantadas desde la oficialidad de los estudios de TI en nuestro país. Son estudios a cargo de diferentes especialistas, profesionales y docentes que han contribuido al progreso de los contenidos configurados en dicha titulación. Muestran el avance progresivo y continuado del interés suscitado por el conocimiento profesionalizante de la Traducción y la Interpretación en una sociedad que cada vez más exige una alta cualificación de nuestros egresados. Esta monografía ofrece un amplio elenco de experiencias y reflexiones contrastadas que abarcan un variado recorrido por las diversas disciplinas de Traducción e Interpretación de un gran interés y relevancia para el experto en estas materias.
The Encyclopedia of Italian Literary Studies is a two-volume reference book containing some 600 entries on all aspects of Italian literary culture. It includes analytical essays on authors and works, from the most important figures of Italian literature to little known authors and works that are influential to the field. The Encyclopedia is distinguished by substantial articles on critics, themes, genres, schools, historical surveys, and other topics related to the overall subject of Italian literary studies. The Encyclopedia also includes writers and subjects of contemporary interest, such as those relating to journalism, film, media, children's literature, food and vernacular literatures. Entries consist of an essay on the topic and a bibliographic portion listing works for further reading, and, in the case of entries on individuals, a brief biographical paragraph and list of works by the person. It will be useful to people without specialized knowledge of Italian literature as well as to scholars.
This bibliography lists English-language translations of twentieth-century Italian literature published chiefly in book form between 1929 and 1997, encompassing fiction, poetry, plays, screenplays, librettos, journals and diaries, and correspondence.
The short story writers featured in this brief anthology – all established figures on the Italian literary scene – have been specifically chosen as being representative of the various geographical regions in the Italian peninsula, ranging from Ginzburg, Pavese and Soldati (Piedmont), Colombi Guidotti and Guareschi (Emilia Romagna region), Tozzi (Tuscany), D’Annunzio (Abruzzi region) and Moravia (Lazio region) to Pirandello and Verga (Sicily) and Deledda (Sardinia). Twelve of these literary masters’ very best novelle – richly diverse both thematically and stylistically – can be read in the original, unabridged Italian with parallel English translations, accompanied by a brief account of the life and literary achievements of each writer, as well as a few notes on the context in which the narrative was written and some relevant features of theme and content. The novelle themselves, originally published in Italy between 1880 (marking the publication of Verga’s La lupa) and 1971 (the year of the publication of Soldati’s Una donna comprensiva), span almost a whole century. Although presented in chronological order of publication – being self-contained racconti – they can be read in any order. All of them lend themselves to the leitmotif of the collection: that of a woman as the central character (D’Annunzio’s Candia, the Princess in Deledda’s fairy-tale, Pirandello’s Mommina, gnà Pina in Verga’s story, etc.). Two of the writers, Grazia Deledda and Natalia Ginzburg, are themselves women writing about women. The anthology, on the one hand, offers readers the opportunity to savour a few delights of Italian literature and culture, and, on the other, promotes effective language learning through a wide spectrum of language and styles. While remaining faithful to the originals, the translations lay emphasis on readability and fluency, thus making their perusal a pleasurable experience in itself. In addition, the stories in this collection will certainly stimulate further interest in Italian literature.
In this short story collection, Dacia Moraini explores the vexing, tragic, and often humorous experiences of women living in modern urban Italy. With a style as lean as Samuel Beckett's, and a love of the absurd that rivals Eugene Ionesco, Maraini's stories are both poignant and wickedly funny. The writer's ironic lens zooms in to examine sexual relations, working conditions, women's issues, and family dynamics, illuminating the lives of an entire generation. With classic existential angst, Maraini's characters are often profoundly dissatisfied with their situations, but also ill-equipped to initiate any real change. Originally published as Mio marito in 1968, this is the first English translation of My Husband.

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