Dante Alighieri e la letteratura italiana del XIII secolo (Audio-eBook) (Italian Edition)

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I suoi interessi scientifici sono relativi al campo della comunicazione, del transmedia storytelling e dei consumi culturali. Si occupa inoltre di rappresentazioni televisive, con particolare riferimento alla fiction. Il protagonismo femminile nella fiction italiana , in M. Buonanno a cura di , Il prisma dei generi Angeli ; Sulle onde sonore. Strategie e usi sociali della musica alla radio , in A.

De Benedictis e F. I suoi principali interessi scientifici sono relativi al campo della comunicazione, dei social media e dei consumi culturali. Tra le sue principali pubblicazioni, Infiniti Anni Ottanta , Homo Communicans , Potere e comunicazione: Media, politica e istituzioni in tempi di crisi She will address La dolce vita as a musical continuum that fills up the vacuity of precarious existence, thus pointing as an idea to the ways in which sound as created artifact, through its own surplus, has the power to undermine subjectivity, while in the breaks of the continuum, sounds of nature become vehicles for an appeal to intimacy, interiority, and relational being.

She received her PhD from Brown. She is the author of Petrarchs Poetics and Literary History and essays in European medieval and Renaissance literature, European cinema studies, transnational feminist media studies, new media, border art, and eco-cinema. Her areas of interest include Italian cinema, Deleuzian theory, cinema of poetry, intermediality, literary translation, lyric essay and creative writing. A poet and creative nonfiction writer, as well as a scholar, her lyric essay Marathon Meditation was published in the Los Angeles Review of Books Quarterly Journal , and her untitled short poem recently won the Santa Clarita Sidewalk Poetry Contest.

He has published on American, Italian-American, and Italian cinema. Phantasmagoria, the Magic Lantern, the Moving Panorama, and then the cinematographic screens are just some of its most typical expressions. The digital revolution has intensified and multiplied our exposure to new screens, such as computer monitors, mobile phones, GPS devices, video games consoles, augmented reality, necessarily involving us in new experiences of mobility, tactility, interactivity, connectivity and immersion.

This panel aims to explore how the Italian arts have creatively responded to the concept and materiality of screens in various forms of intermediality across cinema, video art, video installations, theatre, architecture and urban spaces across the decades. Our papers will concentrate on three periods: ss, s and the New Millennium. Screens and theatricality in Italian art, c. This talk will consider this historical proliferation through the lens of art, by looking at various manifestations of — and takes on — the screen in Italian art of the period, focusing on the vetrini of Bruno Munari ss , the schermi and projections of Fabio Mauri ss , and the Environmental Screen of Marinella Pirelli Revisiting, among others, Michael Frieds well-known notion of theatricality or theatre , and Stanley Cavells conception of the screen as a barrier , I will consider how a significant number of artists in these decades sought to engage both cinema and theatre, and to challenge the barrier of the screen.

The engagement of the screen in the works of Munari, Mauri and Pirelli, where screens envelop ordinary objects, or become props or even stages for the viewer, are exemplary of such attempt to articulate cinema theatrically, so to speak, as an intermedial force which may undo, or at least re-draw, the boundaries of art and its disciplines. Her research explores the interrelations between art and cinema, film and photography, live and recorded media, with a focus on post practices. Emanuela Patti Royal Holloway, University of London, UK Beyond computer screens: projecting digital moving images in public spaces In this paper, I will explore creative practices which experimented with the projection of computer-generated images beyond their original setting, namely the computer monitor.

I will particularly emphasise and compare the purpose and reception of these practices in the period ss and today, as well as the role they have had in our perception of space. Her research interests range across a variety of areas, including modern and contemporary Italian culture, digital screen cultures, intermediality. Ha pubblicato il libro L'apocalisse postmoderna tra letteratura e cinema Le Lettere, , curato il volume Imaginary Films in Literature Rodopi, assieme a S. Ercolino, M. Fusillo e L. Ha pubblicato articoli e saggi su cinema e letteratura, sul digital storytelling e i nuovi media.

Collabora con diversi FilmFest e WebFest. Di prossima uscita il volume co-curato con Silvia Antosa, Sex t ualities. Morfologie del corpo tra visioni e narrazioni Mimesis, Chair: Colleen M. In Italy the series is available on TimVision and, similarly to the American context, followed by large audience. Francesca is currently working a new edited collection on women and food in Italian literature, cinema and other forms of visual arts. Sordi, Comedy Italian Style Springer, Such perceptions of aging may result from the generally limited presence of senesce onscreen.

A monograph-length study on the topic of senescence in Italian cinema has yet to be carried out. Scholarship is limited in scope and follows a decidedly gendered division. Working towards the closure of this lacuna, this paper proposes five avenues for future research on aging in Italian film studies: 1. The synecdocal relation of the national Italian body and onscreen representations of death and decline in old age; 2. Sexuality in the silver years; 4. Tradition, transition, and generational conflict; and 5.

More meaningful images of old age. Lisa works primarily on contemporary Italian cinema and culture, and is particularly interested in the topics of migration, aging, and masculinity. Her refereed journal articles interrogate the fluid sexual and racial identities of migrant protagonists onscreen. Along with preparing a monograph for publication, tentatively titled Screening Sterile Masculinity: On Male Migrants, Italian Men, and the Future of Italy , she is working on a project that investigates representations of aging in Italian cinema.

Critics praise his work for its subtle intertextual ramifications, its original editing, its combination of a distant, burlesque and intimistic tone Curnier At first sight, Tableau avec chutes mainly portrays different sites and types of footage related to immigration showing how migrants can reconnect to their roots. Her main area of research is Italian border literature. Her most recent research interests focus on trauma literature, cultural memory and Jewish-Italian literature Liana Millu, Giuliana Tedeschi, Luciana Nissim, Aldo Zargani and on the new Italian documentary of the Italian diaspora.

Rivista europea di studi italiani. From the late s to the early s, the contribution of Italian filmmakers to the development of South American cinema was monumental. Three countries that specifically benefited from the contribution of Italian filmmakers were Brazil, Argentina, and Colombia.

Moreover, little is known about the contribution of Italian artists to Colombia's silent cinema in which Italian filmmakers have had the biggest involvement. The objective of this presentation is to enrich Italy's filmography by introducing all the Italians artists known to date who significantly influenced the foundation of Colombia's national cinema. Currently, Camilo is conducting research on Colombian silent cinema for his Ph. Ancora oggi, l'attenzione su questa presunta dicotomia rimane non priva di discussioni. We intend migration primarily as the movement of people across national borders, as it is represented in film and media, but also the movement of performers, directors, and scripts across different movie industries.

Moreover, the maternal bodies represented on the screen interacted with off-screen images of the divas circulating on the magazines of the time, often represented within domestic and family environments, which contribute to define the social meaning of the stars as "mediated texts" and to narrate specific iconographies of the maternal. Drawing upon the interdisciplinary theoretical basis of stardom studies and gender studies, this paper seeks to historicize specific discourses on female divismo and transnational motherhood in postwar Italian and Hollywood cinema.

She has written widely on film genres and gender representation is postwar Italian cinema and is the author of Ercole, il divo AIEP, She was also co-editor of Italian Motherhood on Screen Palgrave, with Giovanna Faleschini-Lerner and is currently working on motherhood and media representantions. I argue that these encounters not only illustrate the role played by Italian cinema within current migration discourses in Italy and Europe, but also help us reflect on the posts Southern Italian folk music and dance revival as a promoter of social change through grassroots and locally-engaged efforts.

Indeed, the current Southern Italian folk music and dance revival has encouraged a re-thinking of Southern Italian identity from a postcolonial perspective and as part of a larger, Mediterranean identity. Originally from Benin, Ibi had started recording her life in Italy through photography and videography, which allowed her to share her experience of displacement with her children and her mother in Africa, where--as an undocumented immigrant--she could not hope to return without risking permanent deportation. Photography was also her business--she worked as a wedding and event photographer and videographer within the African communities of Castel Volturno, as well as for the Cultural Center where the Movement for Migrants and Refugees of Caserta met.

When she died in , Segre decided to tell her story through her images, thus producing the first film almost entirely based on visual self-narration by a migrant woman. This paper analyzes both the film techniques and strategies that Segre adopts to integrate archival materials, photos, and other footage and create an innovative and original filmic narration that moves away from more traditional realist—and often objectifying—narratives of female migration.

She is currently at work on a book-length project on the Italian cinema of migration. Access to the Internet and social media has been a necessary condition for this growth. What has that role been? The topic is controversial: should the media give a platform to the ultra-right and, if so, how? Or should they ignore it, thus taking the chance of reinforcing the accusation of being elitist and aloof? My research addresses this on-going debate by presenting a comparative and historical analysis of media coverage in the United Kingdom and Italy.

It implements quantitative measurements of content analysis as well as qualitative methodologies for in-depth investigation. In she won a prestigious Marie S. Curie Experienced Fellowship to study ultra-right media and communication at the University of Loughborough, with a Secondment at the Scuola Normale Superiore of Florence. Her publications have appeared on numerous international peer-reviewed journals such as The International Journal of Communication , The Journal of Language and Politics , Discourse and Communication , Television and New Media , among others.

This presentation will discuss the role of digital technologies in promoting and marketing the Made in Italy as well as in contrasting the widespread phenomenon of counterfeiting of Italian food known as Italian sounding, which refers to the marketing of food and beverages produced worldwide and labeled with Italian names and misleading words and images. Patrizia La Trecchia received her Ph.

Her research includes film, media, globalization, migration, citizenship, the Italian South, digital food culture, ecocinema, sustainable food movement, food security, and food waste. She is a TED speaker on food waste. Although metoo was born in the United States, women in different places were met with different socio-political responses. Her decision to leave added another layer to the public debate, bringing in the question of migration. Recent allegations of Argento sexually abusing a younger actor further complicate things. Beginning with Argento and moving to a broader socio-cultural analysis, this paper will look at how the metoo conversation has been deployed in the Italian context, and the uneasy way feminist and nationalist discourses overlap.

Her research and publications focus on questions of gender, race, migration, textuality and social activism.


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She is a co-founder of the Asterisk taskforce for inclusive pedagogy, and a translator of fiction and journalism; recent pieces include works by Italian authors Dacia Maraini and Laila Wadia, as well as English-language articles about gender and politics in the United States. She is currently translating a text on digital technology and gender, and co-editing a volume on queer Italian media. Risale a questo periodo la fondazione di Camera Woman con altre compagne.

Inoltre, con la Kitchenfilm ho aperto dal il filone della distribuzione, ennesima sfida al mercato agonizzante con piccoli gioielli pluripremiati. Allieva di Vattimo e Rondolino, ha approcciato il tema del cinema sperimentale antenato del docu-fiction attraverso le analisi di Bachtin e Genette. This quality, already pronounced in Corpo celeste , grows exponentially in Le Meraviglie and particularly in Lazzaro felice , where the border between social drama and magical realism becomes blurred, turning the films young protagonists into messianic, redemptive figures, thereby making them symbols of moral resistance.

Her research focuses on the relationship between religion and film, Italian cinema, American cinema, films reception and practices of censorship. Since , she has been acting as peer reviewer for the Journal of Religion and Film and Westminster Papers in Communication and Culture.

She has collaborated with the British Film Institute and the Barbican introducing screenings of the work of Italian directors. It seems too convenient. My dialectic is no more ternary but binary. There are only irreconcilable positions. There can be no existence without contradiction, no action without dialectical conflict.

There is no synthesis, no self-consciousness, no moving beyond the dialectical opposition because the position is irreconcilable. His work centers on the relationship between avant garde film and video and mass culture. Davi Pessoa C. Autore di Terza sponda: testimonio, traduzione , Dante: poeta di tutta la vita Attualmente sta traducendo il Petrolio , di Pasolini. Maturati entro una stessa cornice teorica, i due interventi si divaricano nel prediligere rispettivamente gli scenari del tragico e quelli del comico.

Her research interests include modern and postmodern Italian literature, critical and theoretical intersections between literature and cinema, and cinematic screenplays as a literary genre. Her publications include I romanzi in vetrina dal barbiere. She became a maternal figure and his artistic muse. With her constantly at his side, I argue, Federico could continue to dream and pursue figuratively and literally the erotic femme fatales.

This appears clearly both in films where he directs her La strada , Le notti di Cabiria , Giulietta degli spriti and Ginger and Fred , as well as in those without her. He started writing down and illustrating his dreams after the encounter with Jungian psychoanalyst Ernst Berhnard. She was Chair of the French and Italian Department from to She has just completed a book entitled Portrait of the Artist and His Mother.

She received several university fellowships, two National Endowment for the Humanities fellowships, and three teaching awards. Contrarily, a popular Indian road melodrama Marutitha Hinglaj, resignifies the moral narrative in La Strada , pitting an eccentric individual against hegemonic faith.

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Her interests lie in the fields of cinema, gender, and Postcolonial Studies. Based on research funded by the Fulbright Foundation, she is currently working on two books: a monograph on women authors in the film industries of Pakistan, India, and Bangladesh, and a co-edited scholarly volume on cross-border cinemas in South Asia. Her articles have appeared in such journals as Screen and Diacritics , and other scholarly venues. Besides paying attention to the evolution of her acting style, he argued that the comparison between Masina and Charlot was facile. Scripted by Fellini, directed by Eduardo De Filippo, scored by Nino Rota and set in Rome, this film was highly praised by Bazin right before he died of leukemia.

Starring Alberto Sordi and Paul Douglas Fleischer, Fortunella stands out as a treasure trove of insights about the role of women in society and the importance of imagination in the history of Italian cinema. The purpose of my paper is to do justice to this little-known and valuable film in historiographical and aesthetic terms. Si occupa di critica cinematografica e letteraria e ha curato programmi radiofonici e televisivi.

Flavia Brizio-Skov is Professor of Italian at the University of Tennessee where she teaches modern literature and cinema. She has written numerous articles that appeared in Italian, American, French, Spanish and Portuguese journals. She has published the book La scrittura e la memoria: Lalla Romano Selene Edizioni, , the critical monograph Antonio Tabucchi: navigazioni in un universo narrativ Pellegrini Editore, , and has edited a collection of articles entitled Reconstructing Societies in the Aftermath of War: Memory, Identity, and Reconciliation Bordighera Press, This is a series written by Pif, directed by Luca Ribuoli, produced and broadcast by RAI and based on the homonym film, also directed by Pif.

The series is set mainly in Palermo, and various cultural heritage sites are shown, as well as typical cuisine products or popular suburban boroughs as Mondello. Some episodes are also set in various locations of the province as Partinico, Isola delle Femmine, and Ficuzza. In what way does this TV series alter and change the discourse on the representation of crime in the Italian context? Her research interests are popular culture and crime fiction.

She is the co-editor with Marco Paoli of a special issue dedicated to the Italian film noir that will be published with Studies in European Cinema in Yet while recent scholarship has seized upon the cultural implications of this phenomenon, the extent to which costuming is integral to these series has yet to be explored. Secondly, I look at how costuming is integrated into a larger aesthetic framework, including set design and soundtrack, to become a visual metaphor for organized crime and its relationship to contemporary Italian society.

In the film, Thierno is a young tailor who decides to leave his native country and move to Rome to pursue his dream of becoming a fashion designer. The film offers several reflections on questions that concern integration and assimilation, while addressing a multifaceted discourse on identity through fashion. Garments become a narrative tool and a performative ethical act. Colors, shapes, and patterns acquire a specific meaning and purpose and, by creating a connection between the fabrics that the people in the African village dye, manufacture, and wear with the hardships the protagonist has to face in his daily life, the director discloses the constant negotiations between the two cultures.

She earned a Ph. With this panel we explore the methodological challenges in the study of such performances, considering in particular the ways in which associated discourses of risk and responsibility are mediated by the industry and the press, and how these might be inflected differently by questions of gender, class, regional and ethnic identity. In the films she examines, including Cloro Sanfelice, , Bellas mariposas Mereu, , Indivisibili De Angelis, , the girl becomes the affective conductor for the human relationship with capital, a liquid, deeply uncertain one. She puts this idea in dialogue with work by Eva Hayward on the ideologies of aquarium display, showing how these underwater portrayals of girlhood inflect performance in contemporary Italian cinema.

She has written widely on gender representation in postwar Italian cinema, and has recently published Italys Other Women: Gender and prostitution in postwar Italian cinema, Peter Lang, In particular, her presentation engages with the difficult negotiations and performances of feminine adolescence Driscoll as these performances relate to the productions desire for a representation of an authentic experience of youth.

Both films protagonists have been compared to Enzo Staiola in Ladri di biciclette De Sica, , the iconic face of neorealism. Seeing the child as heir to neorealism and a notional witness to the ongoing migration crisis in Southern Italy is one way of reading these films. However, looking more closely at the figure of the child as non-professional actor, and the mechanics of performance, can open the broader ideological function of the Italian child in these narratives.

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The chair and panelists of this session here included will present from the upcoming volume, Screening Sicily , edited by Giovanna Summerfield and published to offset the near-absence of scholarship that focuses on the relationship between the Mediterranean gem and cinema. Elgin K. She holds a Ph. More recently, her research has geared toward narrative and technical aspects in Italian film and television series. Her research interests are in contemporary Italian literature and cinema, gender studies, motherhood studies, and Sicilian culture.

Her publications focus primarily on gender and representations of the mafia in contemporary Italian cinema. She is the author of Donne, mafia e cinema: una prospettiva interdisciplinare Longo Editore, It examines films and television series branding artists directors, actors, writers to gain international scope, while storytelling national political crisis, scandals, and intrigues. Assessing media products from a variety of approaches, including discourse and reception analyses, panelists investigate the relationship between masculinity and politics in Italian media at a crucial juncture in both national and global histories.

Her research interests focus on Italian cinema, including documentary, film theory and history, gender studies, and feminist and postfeminist theories. Young Salvo, on the other hand, arrives at a finer appreciation of the force of law a ritroso. Publications include essays on serial television in Italy and North America. Her publications include articles on film and theater in the years of lead s , coming-of-age film, and auteur cinema, and two pedagogical volumes. With Ellen Nerenberg, she is co-author of the collaborative project entitled Winx Nation: educare la futura consumista.

Accusations of style over substance persist, although arguably, in Sorrentino, they are two sides of the same coin. On the other hand, Sorrentino seems to be invested in his own brand of political impegno for a postmodern, post-millennial era see Antonello and Mussgnug, , complicating any easy interpretation of his often parodic portrayal of political conflicts, gender issues and masculine identity crises. As allegorical tales, Sorrentinos films are the depiction of the moral degradation of a society physically and mentally consumed by the pursuit for power.

My paper examines how male and female characters in Loro 1 and Loro 2 become obsessed with reaching the personification of their ultimate ideal, Berlusconi as archetype of gold and power. I also argue that obsession with power takes possession of the characters body and mind, turning it into a real mental disorder.

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The characters seem willing to do anything to reach their ultimate idol and get to power, even if involves using others, selling ones body and soul, becoming corrupted, traitors and felons. My claim is that Sorrentinos choice of Berlusconi as a paragon of power and gold and as an exemplification of moral corruption is perfectly fitting and telling of contemporary Italian society.

She is currently working on a book-length project on representation of trauma and power in contemporary Italian and American TV series. La grande bellezza , while being no exception, is in itself a reflection on this binary, exploring the endless search for true beauty. The movies openness to diverging aesthetic and social contexts and its search for contrast introduces the viewer to a procession of characters whose superficially beautiful lives hide endless dissatisfaction and social degeneration. Sorrentino presents elements of aesthetic beauty, before promptly revealing their emptiness.

However, while Sorrentino exposes the fallacy of appearance that surrounds materiality, he also seeks to reveal the true meaning of beauty. Mecchia points to the concept of sublime, symbolised by the shots of the sky, as the answer to this quest. While agreeing with the idea of beauty escaping materiality, this paper argues that true beauty emerges from relationships: love, true friendship, the bound between a father and a son.

Sorrentino does not preference form over substance, but rather explores the very idea of what it means to have substance, finding true beauty in unconventional places. Other areas of her research included the juridical language of migration and political discourse. She has presented papers based on nineteenth-century Italian literature and contemporary Italian cinema at various international conferences. Russell J. In what is without doubt the most divisive point in its critical reception, the series critically analyzes the current state of the Catholic Church, examining the nature and value of religious faith in the twenty-first century.

Kilbourn is Associate Professor in English and Film Studies at Wilfrid Laurier University, specializing in film theory, memory studies, and adaptation. Its popular blend of gruesome murders, gore and eroticism inspired numerous Hollywood productions such as Brian De Palma's Dressed to Kill and William Friedkin's Jade , to name just a few. Thus, it comes as a surprise that before no fully-fledged remake of a giallo has been produced outside of Italy. In a more general sense, the paper also raises theoretical questions about the nature of a remake. Her current areas of research include: Spanish and Italian literature of the seventeenth and eighteenth centuries, Jewish literature, intermediality, visual culture and Italian film history.

Albert, U. Becker, R. I suoi interessi di ricerca riguardano i Television e i Media Studies, le forme promozionali e i Visual Studies. Tra le sue pubblicazioni Imagining. This conference paper will investigate the elements of noir in the first Italian original television series produced for Netflix, Suburra: Blood on Rome Suburra — La serie , which premiered worldwide in and which has been marketed not only towards a younger, but also an international audience that. The aesthetic features and thematic issues which significantly distinguish it from more traditional, RAI-produced series will be discussed.

It will be shown that its success has been achieved by producing a noir that consciously breaks away from Italian small-screen traditions, which tend to be provincial and nostalgic self-appreciation reduced to banality and predictability. Noir and nostalgia are at opposite ends of an aesthetic and ideological spectrum, and I will show that Suburra can be firmly placed within the tradition of Neo-noir crime fiction.

Veicolate anzitutto dai Social Media attraverso i nuovi dispositivi digitali, le esperienze tipicamente cinematografiche del racconto di finzione, di proiezione in situazioni immaginarie e di identificazione con personaggi fittizi — che in passato la moda aveva cercato di rendere possibili soprattutto attraverso il medium fotografico — migrano, in definitiva, verso nuovi spazi e nuovi contesti. I suoi principali interessi di ricerca vertono sul fotografico e, in particolare, sulle interazioni tra arte contemporanea, moda e social media.

The success Ferragamo enjoyed and the creativity he displayed were closely tied to his involvement as a shoe designer for Hollywood and, later, to Italian film. Felicia Caponigri is an American lawyer and Ph. Her dissertation research, under the direction of Professor Lorenzo Casini, comparatively examines how modern and contemporary Italian Fashion may be legally classified as cultural property under Italian law and under U.

The paper presents a mapping of the archival sources, public and private, connected to the activities of the cine-theatrical tailors and costume designers, in order to reconstruct a productive and cultural reality of absolute excellence that, starting from the last century, developed in Rome, a real "city of entertainment". The show is slotted in the early afternoon hours for a private network and is hosted by popular presenter Maria De Filippi. The goal of the show is to help people find a partner, while filming their dates outside the studios.

Much of the show time is devoted to watching and commenting clips of such dates, thereby sparking heated in-studio discussions. Through a combination of feminist media theory and cultural studies lenses, the paper will flesh out several threads for analysis, while focusing on how the show is grounded on a pornography and commodification of emotions, the interweaving of ideological gendered discourses and the reproduction of heterosexist norms.

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Book contributions and articles on Japanese s exploitation cinema are published for the University of Chester Press, Wiley and the Film Studies Journal. He has been teaching courses on global media, political economy of communication and media and cultural studies in the UK and Qatar.


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  • His research interests include social movements, media and cultural studies, critical political economy, digital media. His research work appeared in Branca and Demichelis eds. Previous studies have argued that in the early s a strategia aziendale was used by RAI to decrease anxieties connected to the emergence of young people as social and political subjects in Italian society Morbidelli, Youth-oriented TV shows featured original approaches — like comedy — to the discussion of the ongoing generational struggle in Italian society. Moreover, media narratives increasingly facilitated the creation of a distinctively Italian youth culture by endorsing the popularity of young Italian stars.

    Her research explores the social construction of age as an identity feature and its intersectional dynamics in Italian popular culture. Romanzo Criminale. Scholars have investigated the rise of Italian complex televisual storytelling from various perspectives: domestic and non-domestic televisual storytelling traditions Buonanno, , adoption of American-style production models, changes in viewing practices Scaglioni, Barra, I will focus on the training of the professional screenwriters and on the institutions devoted to the practice-oriented film and television education that in the last decades contributed to form talent for writing and producing television in Italy.

    Do these schools teach a certain approach to television? How does this approach impact visual and narrative style, as well as working practices and collaborative process? Is this approach different from the one of the previous generations of writers who were not trained within a film school framework?

    What are the differences and similarities between Italian, European and American screenwriting schools? His current research interests are in televisual storytelling, transnational television drama, world building narrative practices, transmedia production, cinema and comics. In addition to his scholarly work, he works as script consultant, story editor and screenwriter for the Italian television industry. As is stated by Rosi Braidotti, the postsecular turn has made manifest the notion that agency, or political subjectivity, can actually be conveyed through and supported by religious piety, and may even involve significant amounts of spirituality Braidotti The empty pool where the statue of a bleeding Madonna lies, upon being found by a squad of carabinieri during the capture of a mafia boss, speaks directly to key themes discussed in this series.

    Rather than tackling any interactions between the Church and its followers, Ammanniti chooses to situate his discussion of a miraculous event in a secular universe wholly deprived of faith, presenting its most dramatic ripple effects as effectively hidden from the world at large. The miracle thus becomes a personal engagement with something that is unexplicable, something that lack of faith, portrayed across different walks of life, prevents from providing hope or consolation.

    He is finishing a monograph on the rhetoric of fear in Italian television drama from the s and s, while working on a new project on uses and functions of religion in prestige television drama from the Global North. Si occupa di letteratura e cultura contemporanea, modernismo e postmodernismo, memoria culturale e precariato.

    Si occupa di letteratura e cultura contemporanea, memoria culturale, postcolonialismo, cinema italiano, Imagologia e scrittura di genere. Religious organisations or individuals typically engage in tactics through which they strain for the visibility, or even supremacy, of their vision in a crowded media environment. While Catholicism is overwhelmingly the religion on the Italian peninsula, Italy is nonetheless becoming religiously plural.

    In this paper I explore how the filmmaking industry has mobilised to resist the decline of religious filmmaking in the public sphere. In he moved from Verona to Ravenna, where he completed the Paradiso , and where he died in After his banishment he addressed himself to Italians generally, and devoted much of his long exile to transmitting the riches of ancient thought and learning, as these informed contemporary scholastic culture, to an increasingly sophisticated lay readership in their own vernacular. His reading in philosophy began, he tells us, with Cicero and Boethius, whose writings are in large part the record of their dedication to the task of establishing a Latinate intellectual culture in Italy.

    The Convivio and the De vulgari eloquentia preserve also the somewhat idealized memory of the Neapolitan court of Frederick II of Sicily — and his son Manfred —66 , intellectuals in their own right as well as patrons of poets and philosophers, whom Dante viewed as having revived the ancient tradition of the statesman-philosopher [Van Cleve, —].

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    Dante himself probably studied under Brunetto Latini —94 , whose encyclopedic Livres dou Tresor —66 , written while Brunetto was a political exile in France, provided vernacular readers with a compendium of the Liberal Arts and a digest of Aristotelian ethical and political thought [Meier; Imbach , 37—47; Davis , —97].

    In these works we see for the first time a powerful thinker, solidly grounded in Aristotle, patristic theology, and thirteenth-century scholastic debate, but one who brings these resources directly to bear on educating his countrymen in their own vernacular with the intention of inspiring them to pursue the happiness that rewards the philosopher. For Guinizelli this exploitation of the idea of celestial hierarchy is perhaps only a daring poetic conceit.

    La Divina Commedia - Dante Alighieri - Audio Libro Italiano - Full Audio Book Italian

    For Dante it will become a means to the articulation of his deepest intuitions. For Guido there is an absolute cleavage between the sensory and intellectual aspects of the response to a loved object. Once the phantasma of the object becomes an abstracted form in the possible intellect, it is wholly insulated from the diletto of the anima sensitiva 21— Love is still the aristocratic vocation of the troubadours, and Guido acknowledges that noble spirits are aroused by it to prove their merit.

    But they work in darkness, for the force that moves them obscures the light of intellectual contemplation 57— The ethical dimension of love consists in the challenge its blind urgency presents to reason. E quando trova alcun che degno sia di veder lei. God has given her an even grater grace: that one cannot end in evil who has spoken to her. The philosophical content of the Vita nuova is minimal, a skeletal version of contemporary faculty psychology and a few brief references to metaphysics.

    Dante does not provide any additional details that reveal specifically where he studied philosophy, but in Florence in the early s, there were three schools of religious orders at which he may have studied: that of the Dominicans at Santa Maria Novella; that of the Franciscans at Santa Croce; and that of the Augustinians at Santo Spirito. Unfortunately, there are no reliable historical records concerning the course of study that may have been available to Dante at Santo Spirito. However, there is reliable information about the resources that would have been available to a lay student at Santa Maria Novella and Santa Croce.

    Although the Dominicans at Santa Maria Novella did not allow laymen to pursue studies of philosophy specifically, Dante would have been permitted to attend theology classes, and in these there would almost certainly have been at least indirect exposure to Aristotelian philosophy [Santagata , 83]. Most intriguingly, Dante may have had the opportunity to attend lectures of Remigio dei Girolami d. Remigio, like Dante, was a White Guelf, and, also like Dante, Remigio read widely in classical literature and was fond of drawing lessons in political and ethical conduct from his reading.

    For both Remigio and Dante, moreover, Thomas was primarily the author of the Summa contra Gentiles and the commentary on the Ethics , concerned, like Aristotle himself, to demonstrate the capacities of human reason as a means to truth.

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    The most prestigious studia in Florence in the s, however, was surely Santa Croce, which, as a Studium generale , ranked only behind the three Studia principalia of Paris, Oxford, and Cambridge in terms of importance [Santagata , 83]. As Santagata notes in his recent biography of Dante,. Two great intellectuals who were readers at Santa Croce between and —Pietro di Giovanni Olivi from Provence, and the younger Ubertino da Casale—played a major role in the history of the Franciscan movement and, more generally, in the Church. Dante never mentions Olivi, but in many respects his vision of the history of the Church seems to coincide with that of the Provencal theologian in its Franciscan and spiritual interpretation.

    Wherever it may have been that Dante acquired his familiarity with philosophy and theology, his writings offer ample evidence of wide ranging interests, if not deep expertise about each and every subject that is touched on in them. In particular, Dante cites a dozen works of Aristotle, apparently at first hand, and displays a particularly intimate knowledge of the Ethics , largely derived, no doubt, from Thomas Aquinas.


    • Divina Commedia by Dante, First Edition.
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    • But his Aristotelianism was nourished by other sources as well. Bruno Nardi has argued persuasively that his attitude toward the study of philosophy also owes a great deal to the more eclectic Albert the Great [Nardi ; 63—72; , 28—29; Vasoli b ; Gilson ]. In Albert, in particular, Dante would have encountered a wide-ranging encyclopedism that included original work, experimental and theoretical, in natural science, and treated Aristotelian natural philosophy and psychology in the light of Islamic philosophers notably Avicenna and Averroes and Greco-Arab neo-Platonic sources such as the Liber de Causis , as well as the Christian neo-Platonist tradition of Pseudo-Dionysius.

      It was doubtless this willingness to pursue philosophy on its own terms that appealed to Dante, who also sought to distinguish philosophical and religious knowledge without simply subordinating the former to the latter. He regards intellectual activity as the operation of the intellectus agens , through which the human soul is illumined by the divine Intelligence.

      Albert explicitly rejects the Averroist view of the active intellect as itself a celestial intelligence, a single, separate substance which actualizes in the passive intellect phantasms supplied by individual human minds. But he nevertheless also argues that only an intellect universal in nature can produce an understanding of universal forms. The intellect and the soul of which it is a function thus partake of the character of the separate intelligences.

      Soul is not the actualizing essence of the human creature, as in Thomas, but is related to body through the mediation of its organic faculties. That this fulfillment is attained through natural understanding, with no recourse to the theology of grace and revelation, marks a crucial difference between Albert and Thomas, who devotes several chapters of the Summa contra gentiles to a forceful refutation of the notion that final happiness as defined by Aristotle is possible in this life [SCG 3.

      The poet of the Paradiso is at one with Thomas on the value of philosophy as consisting finally in its power to prepare the mind for faith [ Par. How far this reflects his responsiveness to neo-Platonism as mediated by Albert or in such works as the Liber de causis is hard to determine. Nardi, who argued successfully for seeing Dante as an eclectic thinker [Diomedi , 1—23], stressed the importance of the Liber de Causis. However, the work, which was probably, written around —, was abandoned with only four of its treatises completed.

      In these surviving treatises, Dante describes the genesis of his love of philosophy, and reflects on the ability of philosophical understanding to mediate religious truth, tracing the desire for knowledge from its origin as an inherent trait of human nature to the point at which the love of wisdom expresses itself directly as love of God.

      His poetry, comes into being out of love and virtue [ Conv. Their cosmic activity is a continual translation of understanding into love and natural process, and it is this which causes Dante to sing [ Conv. The intellective power or intendimento of the intelligences moves Dante to an utterance which only these same powers can fully understand. The second book provides a delineation of the Ptolemaic universe which the intelligenze govern, capped by a description of the Empyrean Heaven [2. This is the reason for the extremely rapid movement of the Prime Mover: through the exceedingly fervent desire of each part of the ninth heaven which is right next to that one to be united with each part of that most divine and tranquil heaven, it revolves within it with so much desire that its speed is practically incomprehensible.

      And tranquil and peaceful is the place of that supreme Deity which alone completely sees itself. This is the place of the blessed spirits, according to the Holy Church, which cannot tell lies; and Aristotle also seems to hold this view, to anyone who follows what he is saying, in the first book of On Heaven and Earth.

      This heaven is the overarching edifice of the universe, in which all the universe is enclosed, and outside of which nothing exists; and it is not in any place but was formed alone in the First Mind, which the Greeks call Protonoe. The role of the Empyrean in thirteenth-century thought is equivocal. Some thinkers attempt to explain it scientifically, as a comprehensive cosmic principle, while for Thomas and Albert any such realm must be spiritual in nature and can bear no natural relation to the astronomical universe—though both at times seem to grant it a certain influence on the natural order [Nardi , —; Vasoli a , 94—].

      If God dwells in this place, the Empyrean resides equally in Him, and the universe at large is encompassed, causally and locally, by the Empyrean. Dante deploys the Aristotelian physics of desire to explain the relationship of the Empyrean to the lesser heavens, yet it is at the same time beyond space, a wholly spiritual realm where blessed spirits participate in the divine mind. Dante seems to emphasize this double status by mingling theological and philosophical language, and invoking Aristotle and the neo-Platonists side by side with the poet of the Psalms.

      Since in governing the several heavens the intelligences engage in a kind of civil life, they must enjoy an active as well as a contemplative existence. But the latter is of a higher order than the former, and no single intelligence can partake of both. Aristotle, NE He argues that the circular motion of the heavens, by which the world is governed, is really a function of the contemplative activity of the intelligences [2. This synthesis of the natural and the intellectual universe expresses an ideal of education which harks back to the late-antique sources of twelfth-century Platonism, but which Dante has imbued with new life.

      His emphasis on the ordering function of moral wisdom, and on the happiness attainable through intellectual contemplation, reflects an engagement with the philosophical tradition, and a commitment to philosophy as such, which belong to the later thirteenth century. The human soul, noblest of all created forms, loves all things to the degree that they manifest the divine goodness, but desires above all to be united with God.

      All of this may appear sheer fantasy, but we should remember that the aim of philosophy as the Convivio pursues it is to attain, through natural reason, the greatest happiness of which we are capable in our earthly state. Such felicity is of course circumscribed by our mortality, and the Dante who celebrates philosophical understanding as a quasi-mystical union with God also maintains that true union can be granted only through grace to a soul made receptive by the infusion of the theological virtues which wholly transcend the workings of rational, natural virtue. But for Dante, as for Thomas Aquinas, the modus essendi of the soul joined to the body differs from that of the soul in separation: though they are the same in nature, the separated soul understands, not by means of sensory images, but through species in which it participates by virtue of the divine light [cf.

      To desire what is beyond the capacity of our intellectual nature would be ethically and rationally incoherent, a desire for imperfection rather than perfection of understanding. But the Convivio continually strains against these same limits that it claims are appropriate to the proper scope of human knowledge in our temporal condition. For Dante, first and foremost a poet of love, the experience of acquiring philosophical understanding has an important psychological component.

      By enabling us to analyze the processes of perception, philosophy brings us into contact with the true nature of things, and for Dante, as Kenelm Foster observes, the slightest such contact could have a metaphysical value:. It did not in one sense matter to Dante what the particular object of his knowing might be, since the joy of knowing it was already a foretaste of all conceivable knowledge and all joy; and this precisely because, in knowing, the mind seized truth…once intelligence, the truth-faculty, had tasted truth as such, that is, its own correspondence with reality, it could not help desiring truth whole and entire, that is, its correspondence with all reality.

      At this point, knowledge and the joy of possessing it combine to prepare the ground for faith. And here our good faith has its origin; from which comes hope, which is desire for what is foreseen; and through this arises the act of charity. Through these three virtues one ascends to philosophize in that celestial Athens, where the Stoics and Peripatetics and Epicureans, by the light of eternal truth, in a single will, concur in total concord one with the other.

      Philosophy thus conceived can still be regarded as the handmaid of theology, but as Dante develops his philosophical ideal metaphorically in terms of the beauty of the donna gentile , it assumes a religious value of its own. But having provided this caution, Dante seems to ignore it, as if unable to resist the conviction that philosophy satisfies our desire in a manner proper to itself. Thomas, Exp. But philosophy, as embodied in the donna gentile , is not just the consummation of natural understanding. For Dante, as for Aristotle, the human intellect as such is somehow more than human, and he is at times similarly unclear on the question of whether human beings can attain happiness through the exercise of virtue, and to what extent it is a gift of the gods [Foster , —].

      Repeatedly he draws a distinction between merely human happiness and that attainable through grace, only to seemingly disregard it in subsequent discussion. Since certain things—God, eternity, and primal matter are named—exceed the capacity of our intellect, our natural desire to know must remain unfulfilled in this life [3.

      Dante answers this by affirming, as noted above, that the natural desire for perfection is always proportionate to our capacity to attain it; for to desire the unattainable would be to desire our imperfection [3. Yet philosophy offers the promise of more. When the human mind is fully informed by philosophy, it would appear, it becomes virtually one of the intelligenze , who know both what is above them and what is below, God as cause and the created universe as effect [3.

      The Liber de causis says that each cause infuses into its effect the goodness it receives from its own cause, or, in the case of the soul, from God [ Conv. When in gazing on the body of the donna gentile we are perceiving the effect of a cause which is ultimately God, and thus, Dante asserts [3. And so it is demonstrated by this appearance that, beyond the due of our nature which is most perfect in her, as was stated above , this lady is favored by God and made a noble thing. Thus in effect the donna gentile is the perfection we desire. Through her we experience the divine goodness, by an outflowing, a discorrimento , which Dante glosses with a further reference to the Liber de Causis [3.

      In the quasi-continuous series of gradations that descends from angel to brute animal, there is no intervening grade between man and angel, so that some human beings are so noble as to be nothing less than angels [Aristotle, NE 7. Such is the donna gentile ; she receives divine virtue just as the angels do [3. She is a thing visibilmente miraculosa , ordained from eternity by God in testimonio de la fede for us [3.

      Thomas, SCG 1. She has assumed the status of Wisdom, sapientia , the divine mind as expressed in the order and harmony of creation. Like the separate substances and God Himself, her beauty can only be described in terms of its effects. And it is in such terms that Dante ends his account of philosophy-as-wisdom. Oh, worse than dead are you who flee her friendship!

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      Open your eyes and look; for, before you were, she loved you, preparing and ordering the process that created you; and once you were made, to show you the way she came to you in your likeness. The fourth treatise of the Convivio seems to have been written later than the first three, and it is markedly different in orientation. The principal theme of its canzone is the true nature of nobility. So, since this lady of mine had slightly altered her sweet expressions toward me, above all where I investigated and researched whether the prime matter of the elements was comprehended by God—because of which I refrained for a while from being the presence of her face—living more or less without her, I started to reflect on the human defect related to the above-mentioned error [i.

      That God is the creator of prime matter was an article of faith, and Thomas had dealt decisively with the role of divine will and intellect in the creative act [SCG 2. That Dante should admit to having entertained doubts about such a question is perhaps a way hedging against or concealing the heterodox implications of his claims in book 3 [Ardizzone ]. The anger of the donna gentile would then express his sense of a corresponding loss of focus, a failure to affirm her unique and transcendent role in the expression of the divine will. Or perhaps Dante had come to regard the metaphysical exposition of books 2 and 3 as incidental to what he regarded as a more significant philosophical theme that emerges in book 4.

      Whatever the precise nature of the dilemma to which Dante alludes, the fourth treatise is marked by a noticeable shift away from metaphysics in the direction of ethics and rhetoric. Philosophical knowledge is redirected to the purposes of social and political life, and the treatise, while punctuated like the others by numerous digressions, pursues a single sustained argument.

      Dante begins by explaining that social order is a necessary condition for human happiness and that it requires a single governor whose authority embraces that of all particular governors and directs their several efforts to a single end [4. The gesture nicely epitomizes the project of the Convivio , a vernacular discourse which defines for its lay audience the limits of political and scholastic authority and affirms the autonomy and potential dignity of individual human reason.

      The later portions of the fourth treatise are grounded in another Aristotelian definition of nobility, as the perfection of a thing according to its nature [ Conv. The human expression of this perfection is virtue, moral and intellectual. Electing to address the moral virtues, as more accessible to a lay understanding, Dante begins by describing how nobility is implanted in the nascent soul as the seed of virtue, from which spring the two branches of the active and the contemplative life.

      The final chapters of the Convivio show how the virtues that stem from nobility can direct the natural appetite of the mind, enabling it to evolve through love of them to the happiness which is the end of virtue [ Conv. The Contra gentiles may seem an odd choice of model. Bruno Nardi considers that Dante had at most a superficial knowledge of this work at the time when he wrote the Convivio , and it is certainly the case that he is fundamentally at odds with Thomas over such specific matters as the origin of the soul, the role of the celestial intelligences in creation, and, more important, in claiming for philosophy the power to fulfil the human desire for knowledge in this life [Nardi , 28—29].

      On all of these matters, Dante is closer to the position of Albert. In any case, having dwelt at length on the insatiability of the base desire for riches, Dante addresses the question of whether our desire for knowledge, too, since it continues to grow as knowledge is acquired, is not similarly base.

      This is because anything which grows in the proper sense is always one; the desire for knowledge is not always one but is many—when one is completed, another comes along—so that properly speaking, its expansion is not growth but a progression from something small to something large. For if I desire to know the principles of natural things, no sooner do I know them than this desire is satisfied and fulfilled. And if I subsequently desire to know the what and the how of each of these principles, this is another, new desire, the occurrence of which does nothing to take away the perfection to which the other desire led me; and this expansion is not a cause of imperfection, but of greater perfection or completeness.

      Thomas can speak of the natural desire to know as a force like gravity, whose attraction intensifies as it approaches its object [SCG 3. During the same period in which Dante was writing the Convivio he was also composing the De vulgari eloquentia. Composed in Latin, this treatise was, like the Convivio , abandoned sometime around In it, however, many of the lengthy discussions of ethics and politics from book 4 of Convivio are put in the service of a discussion of the capacity of poets possessing both scientia et ingenium— that is, those who possess both knowledge and genius [ DVE 2.

      Underwriting this purpose, Dante offers a wholly unique treatment of the origins and development of language in book 1 before proceeding in book 2 to set down specific rules that ought to govern the proper poetic deployment of this illustrious vernacular. There are nineteen chapter divisions to part one.

      Chapters 1—3 lay the groundwork by discussing the basic purposes of human language. Here, Dante quite rightly recognizes that, even were we to regard intellectual content as immaterial, human beings are nevertheless constituted in such a way as to derive intellectual content initially from sensation directly as in the case of induction arriving at a first principle or through the sensory communication of intellectual content from one human being to another as in the case of dialectical or rhetorical engagement.



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