The commonality of the prison experience in these films allows for the comparison of the embodiment of the popolana by different actresses: Anna Magnani, Gina Lollobrigida and Sophia Loren respectively. I will also illustrate the ways in which prison is a space that allows for the de construction of traditional gender roles. Her thesis looks at the reception of Italian and non-Italian female film stars in light of both audiences and press discourse in the post-war period.
State use of censorship in suppressing works of art perceived as provocative is nothing new. Evolving standards, however, have reduced the legitimate uses of censorship to the most pressing considerations of security and public safety.
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Italy in the s, removed by only two decades from a fascist government, retained many of its moral standards from this earlier period. Moreover, as a Catholic country, these standards were largely defined by the moral prescriptions of the Church. Artists from all media would begin to challenge these standards, and one auteur filmmaker in particular, Pasolini, would ostensibly lead the way in Italy towards more openness in the film industry. The schism caused by the film in Italian society and even among members of the clergy exposed the obsolescence of outdated laws in the Italian penal code and began to effect change.
Through an analysis of the film itself and its perceived offenses blasphemous tableaux vivants, profane music playing over sacred scenes , an examination of court records outlining the criminal and civil proceedings that followed in addition to the statutes that led to charges of vilipendio and how these changed in the aftermath of the trial , and a consideration of the changing environment in Italy in the s including the Second Vatican Council , this study will focus on the effects of La Ricotta and its underlying social themes on the Italian film industry, religion, and society in general.
He is currently a PhD student in Comparative Studies at the same institution.
This inherently interdisciplinary doctoral program has enabled Jonathan to pursue a range of topics in politics, history, and literary studies. His research interests include the role of literature in documenting important historical events, particularly the role of creative non-fiction in the years of democratic transition in Eastern and Central Europe and the non-fiction work of Italian novelist Erri De Luca. Fondamenti etico-politici del cinema di Gianni Celati tra Antonioni e Visconti.
Visioni di case che crollano e DiolKadd. Vita, diari e riprese in un villaggio del Senegal In tale periodo ha approfondito il romanzo Sciascia, Celati, Tondelli ed il cinema contemporanei Antonioni, Sorrentino, Garrone. I suoi principali interessi di ricerca vertono sulla letteratura italiana del Novecento, la letteratura comparata e la filosofia. What Camon can do is to find, in his own cultural world, a way to neutralize the dangerous flow of time and to metaphorize the painful reality, as both the ritual and the writing do.
His research fields are anthropology of writing, anthropology of literature, autobiography, memory and ritual. He is also Editor in Chief of Primapersona. Percorsi autobiografici, journal published by the Archivio Diaristico Nazionale, with which he collaborates since In the light of such a line of thought, this paper aims to show how Levi faces the extreme environment of the concentration camp: on the one hand he is a prisoner, trapped in an eternal present by physiological needs; on the other, he uses his mind to distance himself from his actual situation, prefiguring a future narration that proves to be a means of resistance and an eventual source of immanent salvation.
The anthropological connotation of Levi's inquiring outlook on the condition of people in Auschwitz leads to ethical considerations that are valid for mankind in general, both inside and outside the Lager, and pertain to showing what human beings never cease to be capable of, be it good or evil. Awareness of this anthropological limit, which is inherent to mankind, is the necessary premise for a fuller understanding of humanity. Sara Boezio - University of Warwick. According to the polymath Max Nordau, literature has a massive influence on life and is to be considered one of the primary sources of the degenerative process characterising the culture of the second half of the 19th century, as he claims in his book Degeneration, published in German Entartung in and translated into Italian in The feeling of bewilderment stemming from the decline of philosophical systems like Positivism faced by the Western society is deemed, in his personal interpretation of the Darwinian evolutionistic paradigm, a sign of the degeneration of the entire European society.
Nordau is also strongly influenced by the research about men of genius carried out by the Italian physician and anthropologist Cesare Lombroso who is also the dedicatee of Degeneration. While this process was global to Europe, I explore and highlight its peculiarities in the Italian context, by looking at the role as a mediator played by Nordau. The analysis takes into consideration both novels and literary reviews in order to compare the praxis and the theory of Italian writers and critics.
Her interests were concentrated on Renaissance literature and on the relationship between poetry and figurative arts; she studied particularly the poems of the painter-poet Bronzino.
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Sara Boezio also has a vivid interest for questions in literary theory and cognitive poetics. In particular her interests lie in how the cognitive science can influence and contribute to studies in literature. She investigates how, when sociology and psychology were just beginning to come to light, intellectuals tried to answer the question about the origin of creativity by putting together the intuitions both of literary scholars and of scientists. This paper explores the authority of the celebrity Anglophone travel writer in fashioning an image of Italy, as compared to the little known Italian authorship.
Underpinned by mobility studies, travel writing and post-colonial theory, my paper will further examine the question of cultural knowledge of the Other through language acquisition. Essentially operating within early nineteenth-century Italian space, both authors embody a dichotomous gaze on Italy, from within Italy, and without.
Italian Language, Literature and Culture MA
Her thesis, Italian Vistas: Mobilities, Texts and Intertexts of Nineteenth-Century Italian and Anglophone Women Travel Writers, is a comparative, cross-cultural project, which analyses little known Italian travel texts, as compared to celebrity Anglophone authorship on Italy during the post-Napoleonic epoch. The recipient of an Irish Research Council Postgraduate Scholarship in , she hopes to publish a monograph based on her research.
This paper will focus on an analysis of the representation of the wet nurse in the Birth of the Virgin scene, and its didactic role to instruct future generations of female family members of their duties as Florentine women. It will be demonstrated that the wet nurse acts within this image as a personification of a female member of the Tornabuoni family of child-bearing age, namely Giovanna degli Albizzi, the daughter-in-law of the family patriarch who had recently died in childbirth attempting to produce a second son for her husband.
A number of elements of the fresco will be analysed to support this thesis, including an examination of the necklace worn by the wet nurse, which appears to be markedly similar to a necklace worn by Giovanna in a number of other scenes and images in which she appears.
No other representation of a female servant in this cycle wears such a pendant. This raises the question as to why Giovanni, who carefully devised the extensive programme for each of these episodes, would choose to have the woman in question depicted wearing this distinctive piece of Tornabuoni jewellery. The second aspect of the scene to be explored is the interaction between the wet nurse and the swaddled child. Through consultation of various sources of law, proceedings documents and legal journals, I focus on what happened at crucial moments in the life of a woman, such as marriage or at the time of widowhood, and therefore inheritance, in the Papal State in the period between the Restoration and the Pisanelli Code The Papal State, as well as the Italian peninsula as a whole, was characterized by a strong cultural and economic backwardness.
The woman, regardless of her social class, was juridically unable; she could not undertake any major act of civil life without the consent of her father, her husband or a court. Besides, during the nineteenth century, women in the Papal States, as in other areas, experienced a loss of status: in the early years of the Restoration, the return to the legislation in force before the Napoleonic conquests constituted a deterioration in their legal status. Then, various subsequent motu proprio before the unification of Italy, instead of improving the status of women, marked a process of their gradual marginalization from the dynamics outside their homes.
In other words, it went from an arithmetical definition to a random concept of appropriateness. My research interests cover women rights in the centre-north of the Italian peninsula in the nineteenth century. Taking on board the insights presented by Artemisia's modelling of herself, my essay looks with fresh eyes at Artemisia's most notorious work — Judith Beheading Holofernes.
To say that gender is performative is to say that it is a phenomenon which is constantly manifesting itself — it is a conscious adoption of certain cultural practices and norms which produce a particular effect or appearance, these then becoming manifest through the subject. This opposes the view that gender is merely a biological fact which is determined at birth. This makes clear how she adopted a unique visual language which allowed her art to take on a more striking meaning and impact in the male-dominated discipline of 17th Century Italian art.
Flavio Boggi in September My main research interests lie in the art of the Italian Renaissance, with issues involving philosophical constitutions of self and art as manifestations of deep inner subjective reflection being at the heart of my work.
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In entrambi i casi, la violenza sessuale si tramuta presto in un rapporto di problematica consenzienza tra i due partner in cui i ruoli di vittima e carnefice sembrano sfumare e, apparentemente, contraddire le teorie sullo stupro come strumento di dominio patriarcale elaborate dal femminismo internazionale Brownmiller ; Griffin However, women are rarely depicted as having consciously chosen to engage in violence, as to accept a woman's agency in a crime dismantles the belief that women are inherently peaceful. Depicted as 'mad' or 'bad', violent women's actions are 'explained away' by the media, while no such explanation seems necessary when covering a male perpetrated crime story.
Marco De Franchi opts for an alternative approach in his crime novel, La carne e il sangue , focusing on normalizing the figure of the female terrorist rather than depicting her as an exception to the norm. Serena, a police detective in charge of this case, continues to contemplate what she would do if she were in the militant woman's place.
Lucia, wife to Stefano and mother to Valerio, works in a hospital in Florence and seems to lead a 'normal' middle-class life. However, unknown to her family, she is also an active member of The New Red Brigades, adopting the nom de guerre 'Federica', when in her militant role. Other: An official English translation of the certificates and the records if the language of the original is not English. The deadline for application means the deadline of submission of the full and complete application package in the online system.
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