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Sardigna no est Italia: Resistance as Sardinian Identity
Get PDFSince the inauguration of academic disciplines such as Anthropology, Classics, and Mediterranean Studies, the island of Sardinia and its rich cultural history have remained largely underinvestigated and underappreciated in scholarly work. The typical image of Sardinia, largely dictated by the scant investigations in these disciplines along with the works of travel writers and Italian intellectuals, is one of a backward and savage people belligerently dependent on anti-modern pastoralism. This dissertation project, motivated by the Sardinian slogan “Sardigna no est Italia” (“Sardinia is not Italy”), explores the nuanced notion of resistance on the island. Beginning with an overview of the contemporary North-South struggle in Italy and the economic subjugation faced by Sardinia and the South after unification, this dissertation documents the many phases of subjugation and exploitation Sardinians have resisted as far back as classical antiquity. In doing so, this project highlights the island’s role as a Mediterranean trading center since the Neolithic period as well as the advanced Nuragic civilization, thereby challenging traditional historiography which has centered Greece and Rome as the ‘civilizing’ forces of the Mediterranean Basin. In connecting perennial resistance from antiquity to the present, this work emphasizes the critical need for collaboration between classical studies and cultural studies by acknowledging that contemporary cultural identity and resistance are deeply entrenched in the historical past. The remainder of this dissertation focuses on the many forms of artistic production – murals, graffiti, public art, political posters, and literature – which serve as the primary preservation efforts for the island’s rich cultural heritage. The Sardinian language is also explored both in terms of its historical development and of the contentious sociolinguistic dilemma birthed from national language movements forced by peninsular Italy. In sum, this dissertation intends to reclaim Sardinian identity by bringing it from the liminal periphery of Italy, the Mediterranean, and academic scholarship and placing it at the fore of Mediterranean Studies moving forward
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The Game of Love
No full textFour lifelong girlfriends spice up their love lives with a string of risky dating dares causing their progress to take a bitter turn when one reveals a betrayal that puts their friendship in jeopardy
Towards a paradigm of the polylingual performance, linguistic and metalinguistic functioning in the Commedia dell'Arte
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University of TorontoThe verbal text of an Italian Commedia dell'Arte performance typically consisted of speeches improvised by the actors in the dialects of the regions of origin of its stock characters. Since the performances were generally aimed at audiences familiar with no more than one or two dialects or languages, commedia troupes had to rely on a non-verbal mechanism for making their "polylingual" theatre intelligible not only to Italian audiences but to the other European audiences for whom they performed. Communication of verbal meaning was achieved by means of an ostensive, gesturally and phonically expressive mode of speaking capable of making itself immediately clear. My purpose in this thesis is to give a systematic account of this mechanism, in so far as it can be gleaned from contemporary manuals and critical accounts of commedia performances, and to develop from that empirical base a formal model for the semantic structure of the multilingual theatrical speech that it sustains. In constructing this paradigm, I plan to refer to the work of the sixteenth- and seventeenth-century commedia players, the work of the ' Comédiens Italiens' in France, and to the work of Carlo Goldoni (1707-1793). In addition, I will draw key analytical concepts from Dario Fo's work on phonic communication in the commedia tradition. Maurice Merleau-Ponty's phenomenology of language and Mikhail Mikhailovich Bakhtin's theory of 'dialogism' and 'heteroglossia' will further inform the thesis and provide the theoretical and methodological approach for this work.Ph.D
New Perspectives on Language, Oral Transmission, and Multilingualism in Commedia dell\u27Arte
No full textThis essay highlights new work on the relationship between oral and textual culture in commedia dell’arte, and particularly the important element of multilingualism. Attention will be give to gender in multilingual performance and special emphasis will be paid to the unique technique developed by the comici of grammelot, or nonsense language, and the use of hybrid languages to create a discourse on cultural intermeshing
Valeria Miani. Amorous Hope, A Pastoral Play: A Bilingual Edition. Edited and translated by Alexandra Coller
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Costumes and Repurposing Fabrics across Religious and Theatrical Boundaries in Early Modern Mantua
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The Theatre Couple in Early Modern Italy: Self-Fashioning and Mutual Marketing by Serena Laiena (review)
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