138 research outputs found
The reception of Max Weber's Cubist Poems (1914) in Taishō Japan
No full textIn this paper, I will analyze the Japanese reception of Cubist Poems, a collection of experimental poetry published in 1914 by the Jewish-American painter Max Weber (1881‒1961). First, I will provide information on this little-known collection and its author. Then I will offer a general description of the structure of the field of cultural production in 1910s and 1920s Tokyo, a period that roughly corresponds to the reign of Emperor Taishō (1912‒1926). To do so, I will use a number of theoretical tools from the works of Pierre Bourdieu. Part of this article will be structured as a historical survey of the presentation of Cubist Poems in 1914‒1925 Japan. As will become clear, in the Japanese cultural world, Weber’s collection provoked an interest that was unparalleled in any other country, perhaps even in the English-speaking world. Finally, I will offer some interpretations of the characteristics of this reception and some hypotheses concerning its causes
La scrittura dell'inquietudine. Saggio su Alessandro Manzoni
No full textThe volume is based on the assumption that Manzoni’s aim is to turn the opposing dualisms at the base of his system of thought (feeling/thinking, passion/reason, judgement/complicity, be/must be, author/reader etc.) into a unity of a higher livel, which can be created through the dialectic cooperation of the previously anthitetic terms. So, for instance, the bipolarism feeling/thinking is changed into the heartfelt reflection («riflessione sentita»), whose constituent are inseparabile; besides, the beginning contrast between author and reader becomes a dialectic relationship in which the reader (thanks to the dialectic of the judgement and to the irony) is brought at the same level of the author and becomes and sort of co-author.
In this way, Manzoni’s thought and writing turn the typical stillness of the anthitetic structures into the restlessness of a mobile system; this is true for the Promessi Sposi, whose artistic form consists in the relentless movement which transforms the several structural dualisms, present at different levels, into systems which create a continuos movement, the very same movement that, according to Manzoni, represents the restlessness of the moral man
Una ignota miscellanea religiosa (a cura) di Alessandro Manozni
No full textThis essays describes a book with a hand-written inscription of Manzoni's to his second wife Teresa that gathers the whole religious production of the author until 1834. Based on some outer evicence and an analysis of the editions included, the essay argues that Manzoni himself assembled the book in 1837 as a birthday present for Teresa Stampa (Novembre 11th)
Gios (Pierantonio) éd. Le scelte pastorali della Chiesa padovana 1883-1982
No full textDurand Jean-Dominique. Gios (Pierantonio) éd. Le scelte pastorali della Chiesa padovana 1883-1982. In: Archives de sciences sociales des religions, n°92, 1995. L'islam en europe. pp. 156-157
Correctiones manzoniane: dal Trionfo della Libertà all'ultima poesia
No full textPrima della conversione Manzoni è autore di poche opere, rimaste quasi tutte inedite, ma notissime a una ristretta cerchia di amici, che gli valsero già allora la fama di poeta. Tra esse, la più lunga è il Trionfo della Libertà. In esso sono presenti ideologemi e stilemi che agiranno a lungo nella mente di Manzoni, il quale nelle opere più tardi li riprenderà correggendoli (convertendoli), con un significativo effetto di retroazione sull’importanza da attribuirsi al poemetto giovanile.
Before his conversion, Manzoni is an author of few works, almost all unpublished, which already earned him the fame of a poet. The longest of these works is the Trionfo della Libertà. In this poem we can find ideological values and writing-styles that will act for a long time in Manzoni’s mind, who in later works will resume and correcting (id est, converting) them, producing a significant feedback effect on the importance to be assigned to the Trionfo della Libertà itself
Gios (Pierantonio) Un vescovo tra nazifascisti e partigiani. Mons. Carlo Agostini vescovo di Padova (25 luglio 1943 - 2 maggio 1945)
No full textDurand Jean-Dominique. Gios (Pierantonio) Un vescovo tra nazifascisti e partigiani. Mons. Carlo Agostini vescovo di Padova (25 luglio 1943 - 2 maggio 1945). In: Archives de sciences sociales des religions, n°64/2, 1987. p. 281
Alessandro Manzoni
No full textIl volume prende in esame la vita e le opere di Alessandro Manzoni, individuandone gli aspetti essenziali e innovativi
Yamamura Bochō: Of Prisms and Clouds
No full textMainly remembered as an author of poetry in non-traditional forms (shi)—his most famous effort being a highly experimental (and controversial) collection titled The Holy Prism (Seisanryōhari 聖三稜玻璃, 1915)—Yamamura Bochō (1884–1924) was a writer of aphorisms, novels, and children’s literature. He was also a Christian minister and missionary, another aspect that sets him apart from contemporary Japanese practitioners of poetry. Despite their relatively low canonization, Bochō’s works appear, in the context of Japanese modern poetry, as exemplary in many ways. They reflect some of the tensions that traversed the Japanese cultural feld in the early decades of the twentieth century: between art and religion, symbolism and naturalism, urban centers and provincial peripheries, and “Western” and “Oriental” aesthetics and thought
Una poesia nuova, cioè antica. Foscolo dalle «Poesie» ai «Sepolcri»
No full textThe essay focuses on the relations between the Poesie (the twelve sonnets and the two odes) and the Sepolcri by Ugo Foscolo, emphasising their strong similarities on the form of the content (see, for instance, the crucial role of the antithesis both as a rhetoric figure and as a linguistic and literary form of Foscolo’s thought) and on a line of development along which the first works represent a preparatory stage for the second. Indeed, it is in the Sepolcri that Foscolo fully expresses his idea of lyric as a poetry which «canta con entusiasmo le lodi de’ numi e degli eroi». This idea could also be found in the Poesie, but, specially in the sonnets, it still coexisted with other characteristics of the «melica». The features of this original conception of the lyric (where ‘original’ does not mean new but indicates its similarity to the one of the origins) include a tension toward the sublime, expressed in the Sepolcri by means of two stylistic choices at least: the strong semantic value of the grammatical elements of the discourse and the utilization of the antithesis, by assigning opposite meanings to the same word. Thanks to these techniques, the author accomplish the effect that the sublime should have on the readers: make them strongly think
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