Incongruous Female Characterization In Four Colombian Novels Testo Spagnolo A Fronte

Whether referred to as mermaid, usalka, mami wata, or by some other name, and whether considered an imaginary being or merely a person with extraordinary abilities, the siren is the remarkable creature that has inspired music and its representations from ancient Greece to present-day Africa and Latin America. This book, co-edited by a historical musicologist and an ethnomusicologist, brings together leading scholars and some talented newcomers in classics, music, media studies, literature, and cultural studies to consider the siren and her multifaceted relationships to music across human time and geography.

The phrase 'cinematic fiction' has now been generally accepted into critical discourse, but is usually applied to post-war novels. This book asks a simple question: given their fascination with the new medium of film, did American novelists attempt to apply cinematic methods in their own writings? From its very beginnings the cinema has played a special role in defining American culture. Covering the period from the 1910s up to the Second World War, Cinematic Fictions offers new insights into classics like The Great Gatsby and The Grapes of Wrath discussing major writers' critical writings on film and active participation in film-making. Cinematic Fictions is also careful not to portray 'cinema' as a single or stable entity. Some novelists drew on silent film; others looked to the Russian theorists for inspiration; and yet others turned to continental film-makers rather than to Hollywood. Film itself was constantly evolving during the first decades of the twentieth century and the writers discussed here engaged in a kind of dialogue with the new medium, selectively pursuing strategies of montage, limited point of view and scenic composition towards their different ends. Contrasting a diverse range of cinematic and literary movements, this will be compulsory reading for scholars of American literature and film.

In Publishing for the Popes, Paolo Sachet provides a detailed account of the attempts made by the Roman Curia to exploit printing in the mid-sixteenth century, after the Reformation but before the implementation of the ecclesiastical censorship.

Finalist for the 2021 PEN Translation Prize A Best Translation of the Year at World Literature Today That Hair is a family album of sorts that touches upon the universal subjects of racism, feminism, colonialism, immigration, identity and memory. “The story of my curly hair,” says Mila, the narrator of Djaimilia Pereira de Almeida’s autobiographically inspired tragicomedy, “intersects with the story of at least two countries and, by extension, the underlying story of the relations among several continents: a geopolitics.” Mila is the Luanda-born daughter of a black Angolan mother and a white Portuguese father. She arrives in Lisbon at the tender age of three, and feels like an outsider from the jump. Through the lens of young Mila’s indomitably curly hair, her story interweaves memories of childhood and adolescence, family lore spanning four generations, and present-day reflections on the internal and external tensions of a European and African identity. In layered and luscious prose, That Hair enriches and deepens a global conversation, challenging in necessary ways our understanding of racism, feminism, and the double inheritance of colonialism, not yet fifty years removed from Angola’s independence. It’s the story of coming of age as a black woman in a nation at the edge of Europe that is also rapidly changing, of being considered an outsider in one’s own country, and the impossibility of “returning” to a homeland one doesn’t in fact know.

Inscriptions, medals, and travelers' accounts, on more learned humanist and antiquarian writings, and, most importantly, on the art of the period, Brown explores Venice's evolving sense of the past. She begins with the late middle ages, when Venice sought to invent a dignified civic past by means of object, image, and text. Moving on to the fourteenth and fifteenth centuries, she discusses the collecting and recording of antiquities and the incorporation of Roman forms.

This book investigates the relationship architecture has with the underground. It provides a broad ranging historical and theoretical survey of, and critical reflection on, ideas pertaining to the creation and occupation of underground space. It overturns the classic dictates of construction on the surface and through numerous examples explores recoveries of existing voids, excavations, caves, quarries, grottos and burrows. The exploitation of land, especially in areas of particular value, has given rise to the need to reformulate the usual approach to building. If the development of urban sprawl, its infrastructure and its networks, generates increasingly compromised landscapes, what are the possible strategies to transform, expand and change the usual relationship between abuse of soil and unused subsoil? Psychological, philosophical, literary and cinematographic legacies of underground architecture are mixed with the compositional, typological and constructive expedients, to produce a rich, diverse and compelling argument for these spaces. As such, the book will appeal to architecture students, scholars and academics as well as those with an interest in literary theory, cinema and cultural studies.

Consummate painter, draftsman, sculptor, and architect, Michelangelo Buonarroti (1475–1564) was celebrated for his disegno, a term that embraces both drawing and conceptual design, which was considered in the Renaissance to be the foundation of all artistic disciplines. To his contemporary Giorgio Vasari, Michelangelo was “the divine draftsman and designer” whose work embodied the unity of the arts. Beautifully illustrated with more than 350 drawings, paintings, sculptures, and architectural views, this book establishes the centrality of disegno to Michelangelo’s work. Carmen C. Bambach presents a comprehensive and engaging narrative of the artist’s long career in Florence and Rome, beginning with his training under the painter Domenico Ghirlandaio and the sculptor Bertoldo and ending with his seventeen-year appointment as chief architect of Saint Peter’s Basilica at the Vatican. The chapters relate Michelangelo’s compositional drawings, sketches, life studies, and full-scale cartoons to his major commissions—such as the ceiling frescoes and the Last Judgment in the Sistine Chapel, the church of San Lorenzo and its New Sacristy (Medici Chapel) in Florence, and Saint Peter’s—offering fresh insights into his creative process. Also explored are Michelangelo’s influential role as a master and teacher of disegno, his literary and spiritual interests, and the virtuoso drawings he made as gifts for intimate friends, such as the nobleman Tommaso de’ Cavalieri and Vittoria Colonna, the marchesa of Pescara. Complementing Bambach’s text are thematic essays by leading authorities on the art of Michelangelo. Meticulously researched, compellingly argued, and richly illustrated, this book is a major contribution to our understanding of this timeless artist.

"Describes Argentina's horrific dirty war, the chaotic final years of brutal dictatorship in Somalia, and the modern-day excesses of Italy's right-wing politics through the words of two half-sisters, their mothers, and the elusive father who ties their stories together"--

Cognitive linguists have proposed that metaphor is not just a matter of language but of thought, and that metaphorical thought displays a high degree of conventionalization. In order to produce converging evidence for this theory of metaphor, a wide range of data is currently being studied with a large array of methods and techniques. Finding Metaphor in Grammar and Usage aims to map the field of this development in theory and research from a methodological perspective. It raises the question when exactly evidence for metaphor in language and thought can be said to count as converging. It also goes into the various stages of producing such evidence (conceptualization, operationalization, data collection and analysis, and interpretation). The book offers systematic discussion of eight distinct areas of metaphor research that emerge as a result of approaching metaphor as part of grammar or usage, language or thought, and symbolic structure or cognitive process.