Romance Literature

Purpose The purpose of this paper is to describe the collection development practices regarding e-books among librarians who manage French, Italian, Portuguese and Spanish (Romance) materials. The authors aim to describe factors that influence acquisition of e-books for Romance language collections to confirm librarians’ perception that humanities researchers prefer print and library administrators’ attitudes toward e-books. Design/methodology/approach This study collected data using a mixed-method approach of a survey and focus groups. Findings This study confirms that user preference is the primary consideration of Romance librarians in selecting e-books. Contrary to librarians’ perceptions, this study found that humanities faculty and students are not averse to using e-books for specific purposes such as searching, targeted reading and course materials. While restrictions on lending e-books are a concern, Romance librarians are focused primarily on serving the needs of their core...

This dissertation is a comparative study of the Russian and Czech avant-gardes and their responses to the crises of representation and artistic language in the first decades of the 20 th century. In particular, it examines the theoretical and creative output of two artists who worked at the intersection of the word and image: the poet Vladimir Mayakovsky and the visual artist Karel Teige. Both artists were central figures in the founding and theoretical articulation of Russian Futurism and Czech Poetism, respectively. The chapters trace these artists' artistic evolutions, from their earliest conceptions of a crisis in art to the development of solutions for overcoming this crisis. The theoretical and creative output of these figures is examined both within the artists' individual oeuvres, as well as in light of their respective artistic movements and the broader tendencies of the international avant-garde. Chapter 1 traces Mayakovsky's response to the crisis from his initial impulse toward abstraction, characteristic of the Russian Cubo-Futurist movement in the verbal and visual arts more broadly, to the introduction of a political agenda into his art. On the basis of Mayakovsky's participation in collective Futurist publications, his individually authored theoretical essays, and narrative poems, this chapter argues that the poet's solution to the crisis of language coalesced around the possibility of realizing democratic representation in art. The chapter shows that in poems written between 1914 and 1921, Mayakovsky was concerned with the question of how to accommodate others' voices in lyric poetry, how to allow them to speak in and through his works. His vision of a more democratic form of representation necessitated the poet's metaphorical self-sacrifice, which he repeatedly performed in his poems on the level of plot. This sacrifice enabled him to realize his vision of democratic representation in the idea of collective authorship performed in his narrative poem 150,000,000. Chapter 2 highlights Karel Teige's response to the crisis of artistic language and representation in his theoretical essays and artworks. By contrast to Mayakovsky's politicized response, Teige prioritized formal innovation. More specifically, this chapter argues that Teige viewed the fusion of the word and image in a multimedia art form as a solution to the parallel crises that afflicted the visual and the verbal arts. This desired fusion remained a constant of Teige's artistic solutions throughout the 1920s. His first attempts to overcome the crisis are contained in the Poetist conception of "image poetry," which incorporated words, painted images, photographs, and other materials. The photograph, understood as a direct imprint of reality, introduced the element of the real into image poetry and thereby transfigured the word and image. After image poetry, Teige went on to replay his formal solution to the crisis of representation in another fused form-the typophoto, which was integrated into the experimental multimedia book ABCs. The introduction and conclusion frame these case studies in terms of the broader trends that inform the artistic experiments of these figures. More specifically, the introductory chapter grapples with questions of how the crisis of language and representation at the turn of the 20 th century can be conceptualized. Arguing that the artistic experimentation of the 1910s and the 1920s represents a continuity of what Foucault calls the modern episteme, the introduction at the same time seeks to address the fissures and breaks represented by abstraction in art and the proto-structuralist understanding of the sign in linguistics. The conclusion addresses the role of figurative language in the articulation of the crisis and maintains that while the language of crisis was productive for artistic experiment, it confined the avant-garde to perpetual renewal of forms and artistic language.

I should like to take this opportunity to thank the librarian, M. Grozay, and the staff of the Bibliothèque Municipale, Carcassonne, for their kindness and for making readily available to me the Chenier family papers and the poet's library. My thanks are also due to the previous librarian, M. Descadeillas, for his*advice, I am grateful to the librarian, Mr. G. Paterson, and the staff of Bedford College Library for their assistance, I am greatly indebted to the staff of the French and Latin Departments of Bedford College and above all to Professor F.R.D. Goodyear for his continued interest and enthusiasm. My principal debt of gratitude is to my supervisor. Dr. E. Le Breton, for her constant help and patient criticism. Without her generous encouragement this thesis would not have been undertaken nor completed. During the course of this present study I have been in receipt of a Major State Studentship and the Amy Lady Tate Scholarship tenable at Bedford College.

This dissertation examines a selection of fictional texts by Marguerite Duras, Andre Gide, Assia Djebar and Tahar ben Jelloun. In my readings of these colonial and post colonial narratives, I explore the textual strategies which transform marginalized positions based on colonialism, gender, sexual orientation and class into positions of dominance. In Gide and Duras, for example, this is evident in their complicity with dominant ideologies of colonialism. By contrast, the second section of the dissertation focuses on the oppositional strategies in the work of Djebar and ben Jelloun, two post-colonial writers from North Africa. Here, I analyze the ways in which the factors of gender and colonialism affect the "identity" of the post-colonial subject.

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My dissertation challenges a commonly accepted view that literary representations of lesbianism were merely a momentary fashion, linked to Symbolist and Decadent movements in literature. More than a trope for artistic sterility, the explosion of Sapphic representation emblematized the social fractures prevalent during the Third Republic. This dissertation illustrates that Sapphism --in literature and beyond--became a type of shorthand to discuss everything from declining natality to changing gender roles, from military fears to urban space to the nature of artistic production. Using legal, racial and other social discourses to provide different kinds of contextualization, my readings of such canonical authors as Zola, Proust, and Colette reveal how lesbian depictions were not merely about sexuality or art but addressed a host of social and political anxieties. Beginning with an analysis of censorship of lesbian themed novels between 1885 and 1895, I demonstrate the randomness of cen...

por su permanente ayuda, pero, sobre todo, por haberme tratado siempre como uno de ellos sin serlo. Por último, todo mi cariño y agradecimiento para Luis, por su infinita paciencia y toda su ayuda, así como a mi familia, y a todos mis amigos y compañeros, españoles y alemanes, por su apoyo constante.

Il contributo si propone di indagare le citazioni e i debiti da Gustave Doré esibiti (o criptati) da Gianfranco Baruchello in una litoserigrafia ideata per il libro d'artista di Antonio Porta intitolato La mia versione del canto V dell'inferno (1991). Si cercherà di analizzare il complesso stratificarsi, sulla superficie del foglio, dei diversi Media e degli ipotesti verbali e figurativi, dalla modernizzazione del testo dantesco realizzata da Porta nel 1984 all'originale dantesco della Commedia, dalle illustrazioni modellizzanti di Doré alla produzione pregressa dello stesso Baruchello.

My dissertation challenges a commonly accepted view that literary representations of lesbianism were merely a momentary fashion, linked to Symbolist and Decadent movements in literature. More than a trope for artistic sterility, the explosion of Sapphic representation emblematized the social fractures prevalent during the Third Republic. This dissertation illustrates that "Sapphism"-in literature and beyond-became a type of shorthand to discuss everything from declining natality to changing gender roles, from military fears to urban space to the nature of artistic production. Using legal, racial and other social discourses to provide different kinds of contextualization, my readings of such canonical authors as Zola, Proust, and Colette reveal how lesbian depictions were not merely about sexuality or art but addressed a host of social and political anxieties. Beginning with an analysis of censorship of lesbian themed novels between 1885 and 1895, I demonstrate the randomness of censorship and its failure to stem the growing number of lesbian depictions. This chapter is followed by an investigation of the role of racial and ethnic othering of the lesbian in French literature as a means to discuss French fears of contamination from its colonies and perceived threats from other world powers. Lesbian characterizations not only gestured to concerns about "Frenchness" and the health of the State, but they also linked sexuality with space. The literary accounts linking lesbian circulation with certain public spaces helped to reconfigure urban landscapes in Paris. The last chapter discusses ways in which both literature and the public lives of bisexual and lesbian authors challenged preconceived notions about marriage and its privileged status as the nec plus ultra of social relationships. Ultimately, I contend that lesbian history in France was not as invisible or non-existent as previously believed, but that in fact, the lesbian representation played an important role in the French imaginary as a means of discussing contemporary social anxieties.

Male Subjectivity from Carlo Emilio Gadda to the Gruppo '63 traces an indirect but enduring legacy of Italian fascism in models of male subjectivity and literature in writing by Carlo Emilio Gadda and two members of the short-lived, loose-knit, but nonetheless influential literary association, the Gruppo '63: Giorgio Manganelli and Luigi Malerba. As critics have noted, experimentalist writers of the 1960s find an aesthetic ideal in Gadda because of his baroque stylistics, particularly the use of digressive narrative trajectories and a multiplicity of languages, dialects, and registers in ways incongruous with linguistic realism. The dissertation raises the stakes of these stylistic affinities between Gadda and the writers he inspires by drawing parallels between his autarchic writings and theories of subjectivity and aesthetics that emerge from his fiction, as well as texts by Manganelli and Malerba. Although this dissertation studies forms of autonomy, it could never have been written without the support of a robust community of colleagues, friends, and family: to them I owe a debt that I will never be able to repay. Most of all, I am beholden to my dissertation advisor, Barbara Spackman, who guided me through every step of this project and of my graduate career. Her generous readings and acute comments were essential to the development of the dissertation. Her scholarship is a paradigm of rigorous theoretical engagement, and I feel incredibly fortunate to have had the opportunity to work with so exquisitely original a thinker. I am also extremely grateful to the other members of my dissertation committee, Alessia Ricciardi, Albert Ascoli, Mia Fuller, and Harsha Ram. Alessia has provided a broader perspective on ideas central to the dissertation, ever mindful as she is of their intersections with the ills of contemporary Italy. In addition being an incisive reader of my work, Alessia has become magnanimous mentor and a dear friend. Throughout my career at Berkeley, Albert has been as kind as he is brilliant, and I am grateful for the compassion and the wisdom he has shared. Mia's careful readings have helped me to maintain a sense of immediacy, and her advice has buoyed me through my graduate career. Harsha has been judicious reader of the dissertation, and I am very thankful for his contributions. I am also fortunate to have worked with a number of other scholars both at Berkeley and at the University of Pennsylvania. The two seminars I took with Kaja Silverman had an enormous influence on my thinking, and led me to consider the theoretical implications of hoarding. A course with Leo Bersani prompted me to reflect on new forms of relationality, and to formulate the critique of the autonomous subject that is central to After Autarchy. At a dissertation workshop offered by Berkeley's Center for the Study of Sexual Culture, I benefitted from the insights of Katie Horowitz and Daniel Boyarin; the latter coined the term "figaliation" to describe textual ties I explore in chapter two. I am much obliged to my undergraduate advisor, Jean-Michel Rabaté, who transmitted to me a passion for psychoanalysis and literary theory. His comments on an early version of chapter three alerted me to important theoretical questions that are now central to the dissertation. Rebecca West was a sage reader of chapter two, and I am both appreciative of her comments and admiring of her work on Luigi Malerba and Giorgio Manganelli. Jessica Otey's humanity nourished me in graduate school, and I will remain forever grateful to her for helping me to articulate and structure the ideas of chapter three. Adriana Guarnieri was munificent with her time while visiting Berkeley, meeting with me regularly as I prepared for the qualifying exams. I often marvel at my incredible good fortune to have been part of the lively and supportive Department of Italian Studies at Berkeley, a community of scholars who so thoroughly enjoy each other's company and value each other's ideas. When I arrived in Berkeley almost a decade ago, I felt immediately at home in the department; the geniality of my colleagues here has made my time in graduate school that much more enjoyable. I am grateful to all of my colleagues, but to some I proffer particular recognition:

While it goes without saying, this research builds upon a vast body of existing scholarship without which this study would never have been possible. My hope is to contribute in some meaningful way to this scholastic tradition. Finally, my deepest love and gratitude to my dear family, including my parents Mahmood and Rizwana Mohiuddin, my husband Asif Harsolia, our children Ismaeel, Shifa and Luqman, my brothers Imran, Salman, and Amaan Mohiuddin and their families, my Nanna Basheer Khatoon, my aunts and uncles, cousins, and friends for their encouraging and constant love and support! v To Ismaeel, Shifa and Luqman vi

Author(s): Harsolia, Khadija Mohiuddin | Advisor(s): Liu, Benjamin | Abstract: In early modern Spain, the Crown forces its subject minority Muslim population, the Mudejars, to convert to Catholicism (1501-1526) thus giving birth to the Moriscos. Alongside the forced conversions would come strict restrictions on Morisco cultural practice making even the use of Arabic language illegal. Therefore, an underground literature whose roots lie in hispanophone Mudejar Islam emerges defiant in the Morisco context for its Arabic script yet Spanish content. This hybrid literature known as Aljamiado inversely reflects a Morisco reality of Christian appearances on the surface yet Muslim loyalties within and accordingly aids the Moriscos in their struggle to survive as faithful Muslims in an increasingly hostile environment. This study undertakes a multi-disciplinary approach incorporating literary, historic and theoretical methods to explore Aljamiado literature as read by Mudejars and Moriscos a...

This dissertation looks at the thematic and narrative tensions that emerge when certain prominent late eighteenth-century French epistolary novels deal with the issue of women's education and the possibility of its reform. The debate of the latter half of the

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This has been a long and arduous process, one that I could never have completed without the help, encouragement, and support of a lot of people. I hope that they accept these few words of gratitude and understand that I could never fully express how much I appreciate what they have done for me. First, I would like the thank Dr. Robert Lauer for his mentorship, guidance, and, most importantly, for introducing me to Spanish theater. When I started taking classes with Dr. Lauer, I was young, thin, and had a head full of hair. Now, so many years, pounds, and follicles later, Dr. Lauer still challenges and inspires me. I will always consider myself his student. Secondly, I would like to thank my committee for their patience, suggestions, and words of encouragement. I am forever grateful to Dr. Luis Cortest for recruiting me to join the Spanish graduate program at the University of Oklahoma, to Dr. Nancy LaGreca for supporting me during some very tough times with Tierra Tinta, to Dr. Bruce Boggs for helping me discover nineteenth-century Peninsular theater, to Dr. James Yoch for giving me the opportunity to play Don Pedro, and to Dr. George Peale for being so magnanimous with his time and wisdom. Thirdly, I would like to express my gratitude to my parents, Leslie, David, Langston, and Mayra for helping me survive these years of poverty and sleep deprivation. Finally, I wish that I could say that I am the only one that has sacrificed to make this possible. I appreciate everything that my family has done for me throughout the years. I could never repay Séneca for making me laugh, Nani for her freestyle songs, and Turey for the wrestling matches. This achievement pales in comparison to Turey's v bravery in the face of Autism. When he was diagnosed, around the time of my doctoral exams, my son hardly acknowledged people at all. Consequently, he ignored the doctors and speech pathologists when they explained that he may never speak. He has put me in the unenviable position of being a father who could never measure up to his own son. Most importantly, I thank my wife, Lynés, for her loving support, for keeping me sane, for listening to countless drafts of this dissertation, for indulging me with Star Trek study breaks, for years without vacations or cable, for all of the sleepless nights, and for dreaming with me. After all of this time, I finally concede that in High School I called her every day after work partly because I was already madly in love, but mostly because I wanted the answers to the AP CALC homework. I still love her and need her the way I did when I was seventeen. vi TABLE OF CONTENTS I.

On Violence and Tyranny examines historiography as a vehicle for the production of a theory of tyrannicide in the aftermath of the murder of Pedro I de Castilla (1369). The thesis of this work is that by considering the royal chronicle as a vehicle and locus for political theorization, we can appreciate the formulation of a theory of tyrannicide as a medium for dynastic legitimation that is not reducible to political propaganda. Rather, it becomes a meditation about monarchy itself, the limits of power, and the underlying causes and consequences of political violence. The chronicle of the king Pedro's rule conceives an economy of violence coded in terms of saber (political wisdom), justice and the law, as a means to face the ideological, political, and social challenges that civil war and regicide pose to a community. I will focus on two fragments of the chronicle, a pair of letters attributed to a wise Moor that the chronicler chose to include in a second stage of his composition and that establish extra textual connections to other political genres such as the specula principum and political prophecy. Through them, I will explore how a theory of tyrannicide allows the chronicler to confront three major problems that regicide poses. First, how to explicate the dynastic break that king Pedro's murder brought about, and minimize the discontinuity that the advent of a new, and illegitimate, dynasty (the Trastámaras) represented for a historical tradition that deeply valued the continuity of history. Second, how a theory of tyrannicide served to repair the broken ties provoked by the civil war. And third, how to represent that founding violence, the violence against a sovereign, to render it legitimate, but not available for anyone else to exploit.

Diplomska naloga obravnava ljubezensko-erotična romana Diagram neke ljubezni in Ljubezen v f-molu avtorice Elze Budau. Na začetku diplomske naloge so razloženi pojmi, s katerimi lahko povezujemo romana: ženski roman, ljubezenski roman in trivialna literatura. V nadaljevanju naloge sem predstavila avtorico, potem sem se osredinila na analizo romanov. Analiza za vsak roman je vsebovala obnovo romana, opis glavnega ženskega lika, osredinila sem se tudi na ženske in moške vloge v romanu in na tematsko analizo vsakega romana. Za utemeljitev tem, ki sem jih odkrila v romanih, sem vključila tudi citate iz njih. Obravnavala sem tudi moški pogled na avtorico v intervjujih, ki sem jih našla. V drugem delu diplomske naloge sem primerjala roman Elze Budau Ljubezen v f-molu z romanom Strah pred letenjem ameriške pisateljice Erice Jong, ki sem jo v nadaljevanju tudi predstavila. Obravnavala sem pomen obeh romanov in namenila razdelek avtobiografskosti obeh romanov. V sklepnem delu diplomske nalog...

My dissertation argues that Italian Futurism, in twentieth century Europe, was able to gain widespread recognition because it modelled its methods of diffusion after the parliamentary styled campaigns of social movements. Futurism not only introduced a new style of art but also transformed the way in which art was promoted, politicized, and used as a tool for propaganda. Through an analysis of the Futurist communicative strategies - in particular the use of the manifesto, theatrical space, and literary magazines - the dissertation shows how Marinetti and the Futurists were able to bring together different methods of collective action with symbolic acts of self-representation. These elements coalesced into the Futurist campaign, which allowed the movement to spread throughout the world.

This study investigates the imbrications and porosity between journalism and narrative fiction in Latin America. It examines how three journalist-writers, Afonso de Lima Barreto (Brazil), José Marín Cañas (Costa Rica) and Gabriel García Márquez (Colombia) write in a fluid double-sided process of textual creation during the twentieth century. In their journalistic production, these writers include characters or situations that are false or imagined and, at the same time, while working in newspapers, write novels based on their journalistic reports. This discursive dialogism results in works with different degrees of hybridity that relativize the argument of those who see rigid boundaries between journalism and literature in Latin America. The literary figure of the journalist-writer, who produces narrative fiction while simultaneously working full-time for newspapers, magazines and news services, is a deeply rooted tradition in Latin American letters. In this study, special attention is given to the complex deployment of reference, hyperbole, deception and lying. During the twentieth century, when Latin American newspapers wanted to appear less political and more commercial to their readers, the journalist-writers continually masked their political views under the cloak of a fact-oriented journalistic discourse. This dissertation analyzes genre borders and develops concepts like "favela de las letras" ("Favela" in iv contradistinction to the Republic of Letters) and "diarismo mágico" ("magical journalism"). The dissertation also examines the conundrums of verisimilitude raised by the imbrication of journalism and literature referred to above. The notion "magical journalism," which echoes "magical realism" yet structurally is more akin to the ambivalence that Tzvetan Todorov detects in the fantastic, produces its effect by the doubt that arises from the tangle of two principles of decoding: the realist, naturalist one that is expected of journalism and the preternatural. The latter is not the realm of the supernatural, as in marvelous verisimilitude, but ensues from apparently immeasurable political power, which in the texts of these writers is presented not only in a realist mode but coded through literary devices like allusion, allegory, hyperbole. In this way, the texts both refer to a concrete reality and simultaneously register it in a literary mode that produces astonishment, consternation and a range of effects of verisimilitude. v Índice de contenidos Sinopsis iii Agradecimientos vii Introducción 1 Capítulo 1: Lima Barreto en la Favela de las Letras 33 Capítulo 2: El periodismo (en)cubierto en la novela El infierno verde de José Marín Cañas 133 Capítulo 3: El periodismo hiperbólico o el diarismo mágico de García Márquez 220 Epílogo 303 Bibliografía 311 vi Para Ashley y mis padres vii Agradecimientos "Ganado el pan: hágase el verso", escribió José Martí. Así que después de finalizar esta tarea, quiero agradecer a todas las personas que durante estos años me alimentaron con sus ideas y su apoyo teórico y personal para escribir esta disertación. En primer lugar, agradezco a mi directora de tesis, Diana Sorensen, quien desde el primer momento en que le propuse mi tema se mostró más que dispuesta a embarcarse conmigo

It is intended that this work should contribute to the study of the original Italian poetry of Giacomo Zanella, through an overall view of it, in its historical context, with due regard to the findings of previous criticism. After a resume of Zanella's life (Chapter 1) and a thorough examination of his Poetica (Chapter 2), his theoretical concept of poetry, there are four detailed, critical surveys of his verses in Chapters 3-6, followed by the final chapter in which a synthetic diachronic evaluation of all the material considered in the foregoing chapters is undertaken. Zanella's theoretical espousal of the fundamental spirit of Chenier's 'formula' resulted in his virtually constant adherence to a Classical, stylistic framework within which he dealt with essentially "Romantic" themes. While his Classicism was Influenced by Parini and, among others, to a lesser extent, Foscolo, it anticipated, at the time of the post-Romantic crisis of form, Carducci&#3...

[à paraître dans le supplément quinquennal 2010 de L'Archicube. Revue de l'Association des anciens élèves, élèves et amis de l'École normale supérieure-ne pas citer sans la permission de l'auteur] Qui sont les normaliens aux États-Unis aujourd'hui, et que font-ils ? A la demande de l'Association des anciens élèves, élèves et amis de l'École normale supérieure, j'ai enquêté pour répondre à cette question. En février 2009, je me suis adressé directement par e-mail à une soixantaine de normaliens littéraires et scientifiques exerçant une activité professionnelle aux États-Unis, et j'ai reçu 39 réponses. L'enquête concernait exclusivement ceux qui ont fait le choix d'une carrière aux États-Unis : je n'ai donc écrit ni aux doctorants ni aux post-doctorants, quoiqu'ils soient assez nombreux, tant en lettres qu'en sciences. Les questions posées étaient peu nombreuses et délibérément vastes. J'ai demandé à chacun de décrire son parcours professionnel, ses responsabilités actuelles et, le cas échéant, son domaine de recherche. J'ai aussi encouragé des réflexions plus personnelles avec deux questions : 1) Pourquoi avez-vous choisi les États-Unis ? 2) Êtes-vous satisfait(e) de ce choix ? Les réponses reçues varient considérablement quant à la longueur (de deux lignes à deux pages) mais elles sont généralement précises et circonstanciées. Il n'est pas possible dans les limites de cet article de les reproduire in extenso. Je vais tenter d'en donner ici une synthèse, qui vaudra comme une ébauche de portrait intellectuel et professionnel de la communauté normalienne aux États-Unis. OÙ SONT-ILS ? QUE FONT-ILS ? D'après l'annuaire 2008 de l'AAEENS, 157 normaliens résident actuellement aux États-Unis, ce qui fait d'eux le groupe le plus important hors de France. A titre de comparaison, il y a 75 normaliens en Grande-Bretagne, 55 en Allemagne, 43 en Suisse, 42 en Italie, et 34 en Belgique. Ces chiffres sont probablement un peu inférieurs à la réalité, puisque l'Association ne possède pas l'adresse de la totalité des archicubes. On trouve des normaliens un peu partout aux États-Unis, y compris dans l'Illinois, au Texas, en Géorgie, en Caroline du Sud, dans le Colorado, le Kansas, le Michigan, et l'Arizona, même si la grande majorité d'entre eux résident sur la Côte Est et en Californie. Il serait très exagéré de parler de fuite des cerveaux, puisque les normaliens des États-Unis représentent moins de 2% du total des archicubes répertoriés dans l'annuaire. On a cependant affaire à un groupe de dimension respectable. LES NORMALIENS AUX ÉTATS-UNIS EN 2010 Un petit nombre d'archicubes travaillent dans le secteur privé. Renaud Dutreil (1981 l) est président de la filiale américaine du groupe LVMH depuis 2008. Il a été auparavant député de l'Aisne (1994-2007) et de la Marne (2007-2008), ainsi que ministre de la fonction publique (gouvernement Raffarin) et ministre des PME (gouvernement Villepin). Jérôme Denis (1978 s), recruté par Schlumberger à la sortie de l'École, a rejoint l'équipe de recherche du groupe à Austin (Texas) au début du boom d'Internet et s'est occupé des premiers systèmes destinés à sécuriser les communications internes des entreprises. Il est aujourd'hui directeur du marketing de Gemalto, multinationale spécialisée dans la sécurité numérique, et qui fabrique entre

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Il ciclo dei trentasei Contorni danteschi del pittore e disegnatore berlinese Giovanni Bonaventura Genelli (1798-1868) rappresenta un interessante tentativo d'interpretare il testo della Commedia alla luce dei principi del classicismo tedesco, sull'esempio di Carstens e di Koch e, in parte di Flaxman da cui però Genelli si distingue per continua ricerca volta ad esprimere la plasticità delle forme. Caratteristica precipua delle sue illustrazioni è inoltre il ricorso continuo sia alla scultura antica che agli affreschi michelangioleschi della Sistina come repertorio iconografico. L'articolo approfondisce questi aspetti con particolare riferimento alle sedici tavole dedicate all'Inferno.

Dante e l'Arte è una rivista dell'Institut d'Estudis Medievals attivo all'in-terno dell'Universitat Autònoma de Barcelona (UAB). È stata fondata nel 2014 da Rossend Arqués e Eduard Vilella perché fosse un punto di riferimento delle iniziative relative agli studi sul rapporto tra Dante e l'arte sia all'interno dell'opera dantesca sia nella sua ricezione. Il suo obiettivo è fungere da mezzo di diffusione delle ricerche originali in questo specifico ambito grazie alla pubblicazione di studi che provengano da tutto il mondo, nella convinzione che l'argomento debba essere affrontato a livello mondiale con lo sguardo rivolto ai rapporti esistenti tra le forme artistiche sviluppatesi nei diversi paesi e l'opera dantesca. La rivista pubblica lavori originali in dossier monografici, articoli di ricerca, note e recensioni di opere pubblicate nel mondo che si sono occupate di questo argomento. L'accettazione degli articoli segue le norme del sistema ...

Dante e l'Arte è una rivista dell'Institut d'Estudis Medievals attivo all'in-terno dell'Universitat Autònoma de Barcelona (UAB). È stata fondata nel 2014 da Rossend Arqués e Eduard Vilella perché fosse un punto di riferimento delle iniziative relative agli studi sul rapporto tra Dante e l'arte sia all'interno dell'opera dantesca sia nella sua ricezione. Il suo obiettivo è fungere da mezzo di diffusione delle ricerche originali in questo specifico ambito grazie alla pubblicazione di studi che provengano da tutto il mondo, nella convinzione che l'argomento debba essere affrontato a livello mondiale con lo sguardo rivolto ai rapporti esistenti tra le forme artistiche sviluppatesi nei diversi paesi e l'opera dantesca. La rivista pubblica lavori originali in dossier monografici, articoli di ricerca, note e recensioni di opere pubblicate nel mondo che si sono occupate di questo argomento. L'accettazione degli articoli segue le norme del sistema ...

This dissertation traces the human relationship to the environment in the French Renaissance through representations of waste in and around the New World. I follow the conceptual shift from a positive abundance to a perception of excess, from travel accounts written by Jacques Cartier and André Thevet, to Rabelais's Gargantua and Pantagruel and Montaigne's Essais, showing an epistemological break in the ecological relationship. In readings of Thevet's Singularités de la France Antarctique and Cartier's Relations, I take up the contradictions that arise when both Thevet and Cartier describe very different areas of the New World-Brazil and Canada, respectively-in similar terms of abundance. I argue that both texts have in common a rhetoric of satisfaction and disappointment, setting the stage for the subsequent ambivalence of the notion of abundance. My readings of Rabelais's Gargantua and Pantagruel reveal the process that governs figures of waste, allowing for a coherent environmental reading of the four books. I argue that Rabelais emphasizes the people's reliance on the environment, and advocates for more careful stewarding of natural resources, effectively satirizing the colonial endeavors of the French crown. My reading of Montaigne's "Des Cannibales" uncovers the focus on the moveable elements of the natural world, in a chapter otherwise well known for his critique of colonization. I argue that the text blurs the distinction between human and nonhuman bodies, making any New World settlement unsettling and unsettled. A reading of "Des coches" focuses on the metaphorical nausea provoked by the eponymous coaches, understood as a metaphor for the Europeans' expansionist greed. Montaigne's contrasted views on expenditure constitute an early modern call for a sustainable, moderate consumption. Defining a more philosophical, environmental notion of waste, I identify a common pattern enmeshing human and nonhuman beings in an ecology that is certainly not always balanced, but regulates itself. The ecology of waste, in these French Renaissance texts, also transforms an initial rhetoric of saturation into a poetics of energy and movement: ultimately, waste disorders language, just as it is a locus of disorientation for the human being in her environment.

Dante e l'Arte è una rivista dell'Institut d'Estudis Medievals attivo all'in-terno dell'Universitat Autònoma de Barcelona (UAB). È stata fondata nel 2014 da Rossend Arqués e Eduard Vilella perché fosse un punto di riferimento delle iniziative relative agli studi sul rapporto tra Dante e l'arte sia all'interno dell'opera dantesca sia nella sua ricezione. Il suo obiettivo è fungere da mezzo di diffusione delle ricerche originali in questo specifico ambito grazie alla pubblicazione di studi che provengano da tutto il mondo, nella convinzione che l'argomento debba essere affrontato a livello mondiale con lo sguardo rivolto ai rapporti esistenti tra le forme artistiche sviluppatesi nei diversi paesi e l'opera dantesca. La rivista pubblica lavori originali in dossier monografici, articoli di ricerca, note e recensioni di opere pubblicate nel mondo che si sono occupate di questo argomento. L'accettazione degli articoli segue le norme del sistema ...

This study entails of an analysis of the visual space in certain novels of Claude Simon: La Route des Flandres, La Bataille de Pharsale, Orion aveugle, Les Corps conducteurs, Triptyque, Lecon de choses. The fragmentation of Simon\u27s narrative makes the reader rely on the novels\u27 imagery to establish a cohesiveness. Simon describes the formation of the image as a process akin to photographic development. For Simon, the image is, primarily, the physical impression of light particles. This first step leads to a comparison between the impressions of the form projected onto a screen (which is similar to a retina) and those evoked in memory by the recollection of an event. This exegesis of the mechanism of imagery in the Simonian text leads to several observations concerning parameters characteristic of this writing. The structure appears in the Simonian narrative under the guise of descriptions of geometric shapes, paintings, or, as previously mentioned, photographs. The structure a...

Parmi les etudes scientifiques et techniques, l’evolution de la discipline informatique attire l’attention. En effet, a partir des annees 1980, de plus en plus d’hommes choisissent cette filiere alors que dans le meme temps, le nombre de femmes reste constant. Nous faisons l’hypothese que le choix d'etude et l'exercice d'une profession sont des pratiques qui sont toujours mediees par un systeme symbolique. Le choix d’une filiere d’etudes en informatique ne s’effectue pas sur la realite mal connue des metiers de ce secteur mais sur les representations sociales a la disposition du grand public, nourries par l’imaginaire de l’informatique, initiees par les fondateurs de la discipline. Avec l’arrivee du micro-ordinateur, la representation de l’informaticien s’est figee sur un homme pris dans une relation exclusive avec l’ordinateur. Les auteurs de science-fiction ont largement alimente et diffuse cette representation, en particulier pour les genres litteraires appeles Hard S...

Pedagogical edition, transcription, and translation of the Aljamiado-Morisco Legend of the Damsel Carcayçiyona (Aragón, ca. 1587) found in MS J57 of the Biblioteca Tomás Navarro Tomás, CSIC, Madrid. A variant of the folktale of the “handless maiden,” this narrative details the conversion of the pagan princess Carcayçiyona to Islam and the trials that befall her. The Spanish version contains a short introduction in Spanish, a transliteration of the Aljamiado into Latin characters, a modern Spanish translation, accompanying notes, and a short bibliography.

Housed at: Open Iberia/América: Online, Open Access Teaching Anthology of Premodern Iberian and Latin American Texts
https://openiberiaamerica.hcommons.org/

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. You are free to download, share, adapt and republish, provided you attribute the source and do not use for commercial purposes.

Nel 2021 oltre ai duecento anni dalla morte di Dostoevskij si celebrano anche gli settecento di quella di Dante. Il destino ha voluto associare in tal modo per sempre questi due grandi della letteratura mondiale. Volendo cercare nell’opera dello scrittore russo quanto è presente il poeta fiorentino, stando al  Dizionario statistico della lingua di Dostoevskij  (Moskva, 2003), il rimando a Dante occorre quattro volte, tre in opere letterarie, lo cita per esempio lo stesso Ivan Karamazov all’inizio del racconto del Grande Inquisitore, e una volta in un articolo del 1862, qui il riferimento è direttamente alla  Divina Commedia  della quale afferma che «espresse nella sua epoca la fede e gli ideali dei cattolici del medioevo» (PSS 20, 29).

por su permanente ayuda, pero, sobre todo, por haberme tratado siempre como uno de ellos sin serlo. Por último, todo mi cariño y agradecimiento para Luis, por su infinita paciencia y toda su ayuda, así como a mi familia, y a todos mis amigos y compañeros, españoles y alemanes, por su apoyo constante.

This is my own complete transcription, transliterated into Latin characters of the Aljamiado MS 5305 housed in the Biblioteca Nacional de España in Madrid. It has not been thoroughly proofed, but is being made available to anyone that might benefit from it.

Contents:
1. Alhadith de Musa con Yaacob el carnicero (fols. 1r-4v)
2. ᶜUmar con Ḥudīfata (5r-5v)
3. Alhadith de dos hombres (6r-13v)
4. Historia que acaeció en tiempo de Isa (14r-16v)
5. Alhadith y recontamiento de Isa con la calavera (16v-22v)
6. Historia y recontamiento de Ayub (23r-41r)
7. Historia de la ciudad de alatun y de los alqanqamās de Sulaymān (41v-60v)
8. Porofecía de Fray Juan de Rocasia (61r-68r)
9. Alhadith de Sulayman (68v-103v)

v. 3). Con il braccio sinistro piegato a livello della spalla, la mano sinistra aperta con il palmo in avanti e la mano destra posta sopra la testa, il poeta appare confuso e stupito al tempo stesso, e purtuttavia nell'atto di essere illuminato.

Arthur Conan Doyle's 'A Study in Scarlet' (1887), which introduces Sherlock Holmes, is a famously disjointed narrative, yet provides a compelling detective story. One strategy employed to create a sense of cohesion is to adapt structures and themes from romance and, in particular, from myth. Conan Doyle's work here appears to prefigure characteristics of high modernist texts.

L’identificazione del livello di diritto amministrato presso la corte di Amore, chiaramente presentato come tale in un passo nodale di Cligés e nel monologo tematico del Chevalier de la Charrette, consente di venire a capo del senso generale dell’opera di Chrétien d eTroyes, chiarendo tutta una serie di contraddizioni solo apparenti. In particolare emerge con chiarezza la ragione per la quale il cavaliere innamorato debba adottare comportamenti che derogano o spesso entrano direttamente in conflitto rispetto alle leggi vigenti, indipendentemente dal fatto che esse siano amministrate sulla base di norme del diritto feudale o di quello consuetudinario.

Although no longer a household name, Elizabeth Goudge (1900-1984) was once a best-selling novelist, the author of an epic historical novel that became a Hollywood blockbuster – Green Dolphin Street – based on experiences of some of her own ancestors in the Nineteenth century. She created a masterpiece of children’s literature, The Little White Horse. Her career spanned from 1934 to 1970. But now, more than fifty years later, Goudge is remembered by a small group of enthusiasts, and occasionally rediscovered by adventurous readers. This article focuses on Goudge’s war-time novel, The Castle on the Hill (1942), considering the special attributes that reveal the quality of Goudge’s writing, as well as her major achievement as a philosophical-religious author. Something of Goudge herself will also be made clear.

This article reads Emma Donoghue's 2007 novel Landing as an intersectional romance. The novel's conflict emerges not only from the distance between the two lovers, the Irish flight attendant Síle and the Canadian curator Jude, but from several intersecting differences: gender identity, class, race, age, sexual orientation, and nationality. Specifically, this article lays out how Síle’s nationality and sexuality are compromised through invisibility, and unpacks how her race and gender contribute to this invisibility. While Jude is recognizably queer and Canadian, as a femme of colour Síle’s identity requires more explanation and affirmation. Through Landing, Emma Donoghue examines how Síle can find happiness without compromising her identity as an Irish racialized femme.