1,721,070 research outputs found
"Il profumo nel decadentismo americano: 'The Eighth Deadly Sin' di James Huneker"
No full textMolto apprezzato dal celebre scrittore e critico H. L. Mencken, che arrivò addirittura a descriverlo come l'unico ‘peana’ dedicato al profumo mai scritto lingua inglese, il racconto “The Eighth Deadly Sin” ( “L'ottavo peccato mortale”) di James Huneker (1857-1921), uscito nella raccolta Visionaries del 1905, costituisce uno degli scritti più rappresentativi dei rapporti tra cultura sensuale e decadentismo negli Stati Uniti tra Otto e Novecento. Questo saggio vi rintraccia insite le tematiche e la poetiche dell’estetismo e del decadentismo su entrambe le sponde dell’Atlantico. La figura retorica dell'ekphrasis, per esempio, viene qui originalmente rielaborata in chiave sinestetica e ‘olfattiva’ con l’intento di trovare non solo affinità inedite tra letteratura e profumo, ma anche per celebrare quest’ultimo come la più grande e sovversiva tra le arti
Territory of the Private Life: James, Turgenev, and Venice
No full textThis essay focuses on Henry James’s major phase masterpiece The Wings of the Dove (1902) and on Ivan Turgenev's third novel On the Eve (1860) - a favorite of James's - discussing the similar interplay between setting and characterization in the second half of both texts
Perfume in the American Decadent Movement: James Huneker’s “The Eighth Deadly Sin”
No full textEnglish translation of the essay "Il profumo nel decadentismo americano: "The Eighth Deadly Sin" di James Huneker" originally published in 201
Forms of literary relations in Henry James
No full textThe special issue includes five contributions that examines different forms of literary relations in the work of Henry James
"Daudet, James, and the Revision of the Nineteenth-Century Wifely Adultery Plot"
Full text linkAlthough it is widely known that Henry James took inspiration from Alphonse Daudet’s L’Evangéliste (1883) for The Bostonians, and from Numa Roumestan (1881) for “The Liar,” the influence of the French novelist on James’s late fiction is still far from being fully grasped or acknowledged. In this essay I will read Daudet’s La petite paroisse. Moeurs conjugales (1895) together with James’s The Golden Bowl (1904) and discuss the similar ways in which these two works revised the nineteenth-century form of the “wifely adultery novel” (Overton 2002) within their respective literary and cultural contexts. My argument is that they challenged both the social stigmatization attached to the adulteress and what were taken to be ‘natural’ relations between husband and wife, and within the family circle
Will B. Mackintosh. Selling the Sights: The Invention of the Tourist in American Culture
No full textClyde Fitch. Sapho. A New Play in Four Acts / Sapho. Un nuovo dramma in quattro atti
No full textUno degli scandali più famosi del teatro americano, Sapho: A New Play in Four Acts (1900), adattato dall’omonimo romanzo di Alphonse
Daudet e commissionato a Clyde Fitch dall’attrice Olga Nethersole, suscitò violente reazioni al suo debutto newyorkese dando luogo a un
sensazionale processo per oscenità. Seppur ambientato nella Francia di trent’anni prima, il dramma si confrontava con l’America di inizio secolo e con una società ancora impreparata a gestire il rapido mutamento dei costumi sessuali, la deriva dell’istituzione matrimoniale e le crescenti istanze dell’emancipazione femminile. Dando risalto alla spregiudicata interpretazione di Nethersole e alla bravura di Fitch nel costruire dialoghi brillanti e provocatori, Sapho va ricordato oggi come un affascinante esempio di naturalismo transatlantico
nonché come il primo caso di censura del ventesimo secolo.
Questo volume costituisce la prima edizione del testo inglese inedito accompagnata da una traduzione italiana a fronte.One of the most striking scandals in American theater, Sapho: A New Play in Four Acts (1900), adapted from Alphonse Daudet’s eponymous
novel, was written by Clyde Fitch under commission for the actress Olga Nethersole. Its New York debut caused a great stir which
culminated in a sensational indecency trial. Although set in France some thirty years earlier, the play challenged contemporary
American society, casting a light on its reluctant acceptance of a change in sexual customs, on the decline of the institution of
matrimony, and on growing demands for female emancipation. Giving full scope to Nethersole’s bold acting technique and Fitch’s skill at creating brilliant and provocative dialogues, Sapho should be remembered today as a fascinating example of transatlantic naturalism and
also for having given rise to the first censorship case in the twentieth century.
This volume is the first edition of the unpublished English text with a parallel Italian translation
"Introduzione"
No full textIntroduzione ad una nuova traduzione italiana dei seguenti racconti: "The Madonna of the Future", "The Sweetheart of M. Briseux" e "The Figure in the Carpet"
Il mito dell’emancipazione nera in due romanzi della Harlem Renaissance
No full textQuesto saggio esamina due romanzi della Harlem Renaissance: There Is Confusion (1924) di JessieRedmon Fauset e Infants of the Spring (1932) di Wallace Thurman. In entrambi è possibile trovare una rappresentazione contro-mitica delle speranze di emancipazione rispetto ai canoni e ai valori bianchi che la cultura afroamericana nutrì, e solo in parte realizzò, tra gli anni Venti e Trenta del Novecento.
The Myth of Black Emancipation in Two Novels of the Harlem RenaissanceThis essay focuses on two novels of the Harlem Renaissance: Jessie Redmon Fauset’s There isConfusion (1924) and Wallace Thurman’s Infants of the Spring (1932). Both novels offer a counter-mythical representation of black artists’ hope to emancipate themselves from white canons andvalues in the 1920s and 1930s
The International Dimension of "The Death of the Lion"
Full text linkThis essay reconsiders some critically established ‘germs’ for Henry James’s “The Death
of the Lion” (1894), traced back to the 1893 demise of Guy de Maupassant and to the latter’s only
visit to England in the summer of 1886. On this latter occasion, Maupassant was ‘chaperoned’ by his
American friend Blanche Roosevelt, a well-known literary journalist in the London and Paris circles.
The unexplored connection with Roosevelt invites a new reading which gives prominence to the
American woman character in the tale (Fanny Hurter) and unveils an international subtheme within.
In light of such a reading, as well as of authoritative studies which have analyzed “The Death of the
Lion” against the rise of modern literary journalism, I will also re-examine the role of the first-person
narrator, an unnamed ‘repented’ literary journalist, in thwarting the possible relation between Neil
Paraday and his American admirer
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