Articles.Chapters.Papers by Roberto Risso
CALL FOR PAPERS, 2021
Eco Disaster in Contemporary Italian Literature and Cinema According to Dickie and Foot "There is... more Eco Disaster in Contemporary Italian Literature and Cinema According to Dickie and Foot "There is no European society whose modern history has been more deeply marked by disasters, both natural and social, than has Italy's." 1 With such a gruesome record, indeed, Italy's fragile body, along with its human and non-human inhabitants, has been persistently weakened and threatened, in particular since the start of the Great Acceleration. This panel seeks engaging contributions that examine how anthropogenic environmental catastrophes (such as, just to mention a few, droughts, floods, post-floods, pollution, loss of biodiversity, land depletion, mass migration, and human extinction) are represented in Italian literature, cinema, and documentaries from 1950 to the present day. "Narrations of disaster" are quite distinctive of the Anthropocene, i.e. an epoch in which human beings have had (or, sadly, have been having) undeniable and deleterious impacts on the planet's ecosystems and geology. This fiction from the Anthropocene encourages readers to ponder carefully what it means to live as vulnerable embodied beings, especially through global warming, climate shifts and all their tightly intertwined implications with society and economy. Moreover, when approached through the innovative lenses of material ecocriticism and post humanism, these novels, short stories, graphic novels and films unveil our deep entanglements in the material world thus questioning obsolete divides such as nature and culture and exposing the large scale and long term imbrication of human and material agencies. For this panel "Eco Disaster in Contemporary Italian Literature and Cinema", interdisciplinary insights from a broad spectrum of areas are very welcomed. Topics include, but are not limited to the following: • cli-fi, speculative fiction, and sci-fi; • apocalyptic and dystopic fiction; • cross-pollination / blended genres and the canon; • proximity and eco-cosmopolitanism; • rescaling disaster, representational challenges; • environmental justice and voicing the other; • ethics of care, parenthood, and posterity; • humanities as a form of resistance and performative action; • past memories and anticipatory memories; Send a proposal (200-250 words max), 5 keywords, a short bio and affiliation to Anna Chiafele ([email protected]) and Roberto Risso ([email protected]) and February 1 st 2021
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Short stories and novels, as well as movies and comics, have often focused on the aftermath of t... more Short stories and novels, as well as movies and comics, have often focused on the aftermath of the end of the world. Post-apocalyptic fiction is coming to the foreground, and in this context Italy has a voice of its own.
Italy has long been the site of epochal transformations and collective phenomena that have impacted art and society inside and outside its borders. Mass emigration and immigration, the rise and fall of fascism, the response to cold-war paranoia, nuclear anxieties, the reactionary opposition to social movements of the 60s and 70s, and the violent atmosphere of the Anni di Piombo all made their impact on Italy. Italian authors have registered these moments with outstanding lucidity, frequently translating them into post-apocalyptic themes.
James Berger suggests “The study of post-apocalypse is a study of what disappears and what remains, and how the reminder has been transformed” (After the End, 1999). Italian post-apocalyptic narrative exists precisely on the line dividing what is gone and what is to come. Bracing both high and low culture, Italian post-apocalyptic fiction goes from post-Risorgimento visionary tales (Nievo, Ghislanzoni) to the Futurist provocative disruption of the text, to the most recent narratives of the Anthropocene, from Dino Buzzati’s and Primo Levi’s sci-fi to exploitation cinema of the 1980s.
Behind the triviality of zombie-populated wastelands and asteroid-broken planets lies a complex and fascinating discourse on generational changes and linguistic transformation. It is not detached from its historical context and is linked to social dreads and collective anxieties that constitute the essence of post-apocalyptic fiction worldwide and that Italy has interpreted and represented in its own way.
The special issue of Italian Quarterly peer reviewed is meant to gather articles on Italian apocalyptic and post-apocalyptic literature, cinema, popular culture. Contributions on other arts are also welcomed. Submissions may be in either English or Italian, using MLA Style for text, notes and bibliography. Deadline for submissionsis October 20, 2018, although earlier submission will be given priority.
Editors of this volume are Alberto Iozzia (Rutgers University) [email protected] and Roberto Risso (Clemson University) [email protected]
Questions regarding the formatting and how to submit articles, using MLA Style, should be sent to [email protected]
Ed io, muto, pei fori della tenda, Ansando, con gli stanchi occhi infocati, Spio l'infinita arcan... more Ed io, muto, pei fori della tenda, Ansando, con gli stanchi occhi infocati, Spio l'infinita arcana Affrica orrenda 61 .
Un nucleo di romanzi storici del primo Ottocento italiano, sviluppatisi con e attorno l'apparizio... more Un nucleo di romanzi storici del primo Ottocento italiano, sviluppatisi con e attorno l'apparizione dell'edizione ventisettana dei Promessi Sposi e la quarantana, fornisce un'idea e immagine di Italia come patria di creare liberandola dall'oppressione straniera, dai conflitti intestini, dalle ingerenze altrui.
Capitolo su Gli ammonitori di Giovanni Cena nel volume miscellaneo VOGLIO MORIRE!
Risorgimento. Letteratura italiana. Romanzo storico. Fiction. Storia italiana.
L'Editore si dichiara disponibile a regolare eventuali spettanze in favore degli aventi diritto i... more L'Editore si dichiara disponibile a regolare eventuali spettanze in favore degli aventi diritto issn 1127-249X isbn 978-88-6372-553-7 eisbn 978-88-6372-623-7 © Accademia dell'Arcadia, 2013 È vietata la copia, anche parziale e con qualsiasi mezzo effettuata Ogni riproduzione che eviti l'acquisto di un libro minaccia la sopravvivenza di un modo di trasmettere la conoscenza Tutti i diritti riservati edizioni di storiA e letterAturA 00165 roma -via delle Fornaci, 24
Abbonamenti e amministrazione: Mucchi Editore S.r.l.,
La quota per le istituzioni è comprensiva dell'accesso on-line alla rivista, ottenibile mediante ... more La quota per le istituzioni è comprensiva dell'accesso on-line alla rivista, ottenibile mediante la segnalazione dell'IP a [email protected]
Sono ormai note e riconosciute le qualità artistiche e narrative, la raffinatezza e l'alto livell... more Sono ormai note e riconosciute le qualità artistiche e narrative, la raffinatezza e l'alto livello di elaborazione stilistica della coppia di autori torinesi Fruttero e Lucentini (per citare Fruttero: «una società di mutuo soccorso» 1 ) uniti da mezzo secolo in una collaborazione intellettuale 'a quattro mani', nata «non scrivendo, ma leggendo» 2 . Da queste 'letture' sono scaturite antologie di racconti e romanzi, traduzione di prosa e teatro che non poco hanno contribuito a svecchiare e aggiornare la conoscenza di altre culture e particolarmente della tradizione della short story angloamericana 3 . La coppia di autori è unita anche 'graficamente' da un'ironica e amara -&-commerciale che nel suo esistere su tutte le copertine dei libri e in calce agli articoli, agli editoriali e alle note sui periodici, denuncia con un solo semplice tratto l'inscindibile coesistenza di qualità letteraria e di creazione narrativa come opera d'arte di successo. Se è vero, come scrisse Italo Calvino nella prima delle sue Lezioni americane, che: «È difficile per un romanziere rappresentare la sua idea di leggerezza» 4 , la coppia, che di romanzo e di tecnica narrativa era assai esperta vista la comune formazione nel gruppo einaudiano di Torino, trovò proprio nell'espressione della propria leggerezza il cardine ironico su cui far ruotare apparentemente senza sforzo la mole del bagaglio culturale e letterario che entrambi si portavano appresso: letture vastissime di opere in lingua originale, russo compreso, traduzioni di autori diversi e diversamente complessi quali Beckett e Stevenson, la partecipazione assidua al dibattito di cultura e di costume da una postazione privilegiata quale la Torino dal Secondo dopoguerra al Duemila. Questa espressione della leggerezza trova nel genere poliziesco una sua peculiare realizzazione, anzi, come scrive Spinazzola, «un alleggerimento tonale nella pagina» 5 che nulla toglie al progetto creativo della coppia, di realizzare il poliziesco di qualità, cioè il 'giallo' brillante; secondo l'equazione: Vacanze = brama di spensieratezza = lettura di evasione = polizieschi brillanti = F&L 6 . Parte integrante di questo intento è la consapevolezza degli autori di aver dato vita, sia da un punto di vista stilistico che contenutistico, a prodotti letterari «di eccellente manifattura che sono calibrati, dai professionisti del successo, con un'affabile medietas commerciale» 7 .
Lo studio muove dalla contestualizzazione del breve trattato nell'ambito della cultura italiana e... more Lo studio muove dalla contestualizzazione del breve trattato nell'ambito della cultura italiana ed europea del periodo per poi concentrarsi sulle corrispondenze tematiche, stilistiche e contenutistiche con le altre opere di Tommaso Crudeli, la cui attribuzione è stata a lungo dibattuta. Scopo del saggio è dimostrare come pur nella mancanza di documenti risolutori della questione siano i temi e le caratteristiche delle opere in versi e in prosa dello sfortunato Autore toscano ad imporre un accostamento e un'identificazione fra l'Autore e la sua opera, letta parte per parte e analizzata in relazione alle connessioni tematiche con la coeva e la precedente trattatistica sul comportamento. È inoltre agevole riscontrare l'incidenza di situazioni, atmosfere e suggestioni dei versi e delle traduzioni crudeliane nella prosa agile e intensa del trattato.
Articles by Roberto Risso
in The Formation of a National Audience in Italy, 1750-1890. Readers and Spectators of Italian C... more in The Formation of a National Audience in Italy, 1750-1890. Readers and Spectators of Italian Culture. Edited by Gabriella Romani and Jennifer Burns, Madison-Teaneck, Fairleigh Dickinson University Press, 2017, pp. 21-41.
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Articles.Chapters.Papers by Roberto Risso
Italy has long been the site of epochal transformations and collective phenomena that have impacted art and society inside and outside its borders. Mass emigration and immigration, the rise and fall of fascism, the response to cold-war paranoia, nuclear anxieties, the reactionary opposition to social movements of the 60s and 70s, and the violent atmosphere of the Anni di Piombo all made their impact on Italy. Italian authors have registered these moments with outstanding lucidity, frequently translating them into post-apocalyptic themes.
James Berger suggests “The study of post-apocalypse is a study of what disappears and what remains, and how the reminder has been transformed” (After the End, 1999). Italian post-apocalyptic narrative exists precisely on the line dividing what is gone and what is to come. Bracing both high and low culture, Italian post-apocalyptic fiction goes from post-Risorgimento visionary tales (Nievo, Ghislanzoni) to the Futurist provocative disruption of the text, to the most recent narratives of the Anthropocene, from Dino Buzzati’s and Primo Levi’s sci-fi to exploitation cinema of the 1980s.
Behind the triviality of zombie-populated wastelands and asteroid-broken planets lies a complex and fascinating discourse on generational changes and linguistic transformation. It is not detached from its historical context and is linked to social dreads and collective anxieties that constitute the essence of post-apocalyptic fiction worldwide and that Italy has interpreted and represented in its own way.
The special issue of Italian Quarterly peer reviewed is meant to gather articles on Italian apocalyptic and post-apocalyptic literature, cinema, popular culture. Contributions on other arts are also welcomed. Submissions may be in either English or Italian, using MLA Style for text, notes and bibliography. Deadline for submissionsis October 20, 2018, although earlier submission will be given priority.
Editors of this volume are Alberto Iozzia (Rutgers University) [email protected] and Roberto Risso (Clemson University) [email protected]
Questions regarding the formatting and how to submit articles, using MLA Style, should be sent to [email protected]
Articles by Roberto Risso
Italy has long been the site of epochal transformations and collective phenomena that have impacted art and society inside and outside its borders. Mass emigration and immigration, the rise and fall of fascism, the response to cold-war paranoia, nuclear anxieties, the reactionary opposition to social movements of the 60s and 70s, and the violent atmosphere of the Anni di Piombo all made their impact on Italy. Italian authors have registered these moments with outstanding lucidity, frequently translating them into post-apocalyptic themes.
James Berger suggests “The study of post-apocalypse is a study of what disappears and what remains, and how the reminder has been transformed” (After the End, 1999). Italian post-apocalyptic narrative exists precisely on the line dividing what is gone and what is to come. Bracing both high and low culture, Italian post-apocalyptic fiction goes from post-Risorgimento visionary tales (Nievo, Ghislanzoni) to the Futurist provocative disruption of the text, to the most recent narratives of the Anthropocene, from Dino Buzzati’s and Primo Levi’s sci-fi to exploitation cinema of the 1980s.
Behind the triviality of zombie-populated wastelands and asteroid-broken planets lies a complex and fascinating discourse on generational changes and linguistic transformation. It is not detached from its historical context and is linked to social dreads and collective anxieties that constitute the essence of post-apocalyptic fiction worldwide and that Italy has interpreted and represented in its own way.
The special issue of Italian Quarterly peer reviewed is meant to gather articles on Italian apocalyptic and post-apocalyptic literature, cinema, popular culture. Contributions on other arts are also welcomed. Submissions may be in either English or Italian, using MLA Style for text, notes and bibliography. Deadline for submissionsis October 20, 2018, although earlier submission will be given priority.
Editors of this volume are Alberto Iozzia (Rutgers University) [email protected] and Roberto Risso (Clemson University) [email protected]
Questions regarding the formatting and how to submit articles, using MLA Style, should be sent to [email protected]
This panels seeks original works on any aspects of the representation of prison narrative, historical memory, protest and their fictional representation, from Tarabotti and Casanova to Primo Levi, from Silvio Pellico to Pirandello to Alda Merini, from Behind Bars to Gramsci’s letters and handbooks.
Please send a two hundred words abstract, in Italian or in English with the title of the paper, an outline of its content and eventual media needs with a short bio to Roberto Risso (Clemson University)
[email protected]
Predella no. 41-42, 2017 - The "Discovery" of the Trecento in the Long Nineteenth Century
EDITORIALE/EDITORIAL
Gerardo DE SIMONE, Emanuele PELLEGRINI
Musei e identità: un intreccio difficile
MONOGRAFIA/MONOGRAPH
The «Discovery» of the Trecento in the Long Nineteenth Century
Louise BOURDUA
The «Discovery» of the Trecento in the Long Nineteenth Century. Introduction
COLLECTORS, CONNOISSEURS AND ART HISTORIANS
Sam SMILES
The Fate of the Manetti Chapel and the Reception of Trecento Art in Britain, 1770s to 1890s
Anita F. MOSKOVITZ
Discovering the Trecento: American Mavericks in the Market. Who, Where, Why, and Why Not
Corina MEYER
Working on «Depth of Thought» and «Serious Gravity»
Corentin DURY
Evariste Fouret (1807-1863): A French Collector, Amateur and Connoisseur of Trecento Painting
Julia M. NAUHAUS
Bernhard August Von Lindenau’s Collection of Early Italian Panel Paintings
Paul TUCKER
Trecento «Characteristic» and «Grotesque»: Frederic Burton, Charles Fairfax Murray and Early Sienese Painting in the National Gallery 1874-94
Martina BECATTINI
La Stanza del Trecento nel Museo Stibbert di Firenze
Laura FENELLI
Le Campora, 1908: Discovering a Trecento Fresco Cycle
ARTISTS
Hayley FLYNN
Dante’s Topographer: William Blake’s Illustrations to the Divine Comedy
Kathleen McLAUCHLAN
A Problematic Attraction: French Artists and the Primitive at the French Academy in Rome
Antonella BELLIN
Carl Blaas e i Nazareni a Roma
Alan CROOKHAM
Another Piece of the Mosaic. Trecento Influences on The Albert Memorial
Laura LOMBARDI
La riscoperta della tradizione medioevale nella scultura francese dopo il 1870. «Les véritables origines de la Renaissance»
Lyrica TAYLOR
«My Beloved Masaccio and Giotto and All The Rest of the Blessed Company»: Winifred Margaret Knights and the Rediscovery of the Trecento in the Long Nineteenth Century
OTHER CONTEXTS: CULTURE & THE MARKET
Elisa CAMPOREALE
In Homes and Novels: Early Italian Pictures in England from Early Nineteenth to Early Twentieth Century
Assunta DE CRESCENZO
Foscolo’s Parallel Between Dante and Petrarch: A Perfect Harmony of Contrasts
Roberto RISSO
«Sotto il sembiante d’una pacata mestizia…». La cacciata del Duca d’Atene dal Medioevo all’Ottocento fra cronaca, affresco, narrazione e pittura
Chiara MORICONI
Dante Gabriel Rossetti's Salutatio Beatricis: Tradition as Translation
Marie TAVINOR
John Ruskin: A New Saint Francis of Assisi? Ruskin’s Critical Reception in Italy and The Origins of the ‘Renaissance’
Lynn CATTERSON
American Collecting, Stefano Bardini & the Taste for Trequattrocento Florence
Robert GIBBS
A 21st-Century Invention of a 19th-Century Giotto Revival: The ‘Stendhal Syndrome’
MISCELLANEA/MISCELLANY
FIGURE
Alba BARCELÓ
Iluminando la décima plaga de Egipto: la muerte de los primogénitos en el programa pictórico de las Haggadot medievales catalanas, particularidades e influencias
Rudolf SCHIER
Sailing to Byzantium. Giorgione’s Three Philosophers
Claudia LA MALFA
I campanili di Raffaello
Cristina GAGLIONE
Il gioco di carte alla corte degli Este: analisi di un dipinto di Dosso sulla base della rilettura degli inventari estensi
CUSPIDE
Ilaria TADDEO
Some Observations on “Michele Grechi Lucchese” Painter and Engraver
Gianpasquale GRECO
Un angolo di Toscana a Roma: la Cappella di Carlo Lambardi «Nobilis Aretinus» in Santa Maria in Via
Chiara MINARDI
Nicolas Guillaume De La Fleur (1595/1600-1663): un pittore lorenese tra Roma e la Francia in età barocca
Laurent GRISON
Ingres et le mythe d'Œdipe
CORNICE
Giulia INGARAO
The Alcove: an interior with three figures.
Leonora Carrington, Max Ernst E Leonor Fini – Saint Martin D’ardèche 1938/1940
Francesca PIROZZI
Il senso di Luigi Ontani per la maestria della ceramica e delle arti popolari
IN LIBRERIA
Paul TUCKER
Titling and the Individuation of Artworks
Review of: Ruth Bernard Yeazell, Picture Titles. How and Why Western Paintings Acquired their Names, Princeton University Press, 2015
Eliana CARRARA
Scrivere d’arte nel Cinquecento
Recensione di Émilie Passignat (a cura di), Il Cinquecento. Le fonti per la storia dell’arte, Roma, Carocci, 2017
Silvia MASSA
Orlando Grosso e l’arte genovese tra musei civici e connoisseurship
Recensione di Andrea Leonardi, Arte antica in mostra. Rinascimento e Barocco genovesi negli anni di Orlando Grosso (1908-1948), Firenze, Edifir, 2016
Gigetta DALLI REGOLI
Les Cahiers de l’Ornement/2
Recensione di Les Cahiers de l’Ornement 2, a cura di P.Caye e F.Solinas, Roma, De Luca, 2016
Marco BRUNETTI
Artestorie. Le professioni della storia dell’arte
Recensione di M. S. Bottai, S. Cecchini, N. Mandarano (a cura di), Artestorie. Le professioni della storia dell’arte, Cisalpino Istituto Editoriale Universitario 2016