Giannas Honor Bound Husband The Dante Dynasty Series Book8

"A clear and comprehensive guide to the religious and secular life of the Greek-American community," including naming a baby, planning a baptism, observing name days, baking communion bread, buying popular Greek music, what to say (in Greek) on special occasions, and much more.

In this book, Teodolinda Barolini explores the sources of Italian literary culture in the figures of its lyric poets and its “three crowns”: Dante, Petrarch, and Boccaccio. Barolini views the origins of Italian literary culture through four prisms: the ideological/philosophical, the intertextual/multicultural, the structural/formal, and the social. The essays in the first section treat the ideology of love and desire from the early lyric tradition to the Inferno and its antecedents in philosophy and theology. In the second, Barolini focuses on Dante as heir to both the Christian visionary and the classical pagan traditions (with emphasis on Vergil and Ovid). The essays in the third part analyze the narrative character of Dante’s Vita nuova, Petrarch’s lyric sequence, and Boccaccio’s Decameron. Barolini also looks at the cultural implications of the editorial history of Dante’s rime and at what sparso versus organico spells in the Italian imaginary. In the section on gender, she argues that the didactic texts intended for women’s use and instruction, as explored by Guittone, Dante, and Boccaccio—but not by Petrarch—were more progressive than the courtly style for which the Italian tradition is celebrated. Moving from the lyric origins of the Divine Comedy in “Dante and the Lyric Past” to Petrarch’s regressive stance on gender in “Notes toward a Gendered History of Italian Literature”—and encompassing, among others, Giacomo da Lentini, Guido Cavalcanti, and Guittone d’Arezzo—these sixteen essays by one of our leading critics frame the literary culture of thirteenth-and fourteenth-century Italy in fresh, illuminating ways that will prove useful and instructive to students and scholars alike.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

A pioneering work in oral history, this book tells the story of the rise and fall of the industrial revolution and the apogee and crisis of the labor movement through an oral history of Terni, a steel town in Central Italy and the seat of the first large industrial enterprise in Italy. This story is told through a combination of stories, songs, myths and memories from over 200 voices of five generations, woven with a wealth of archival material.

In the four and a half centuries since Machiavelli’s death, no single and unanimously accepted interpretation of his ideas has succeeded in imposing itself upon the lively debate over the meaning of his works. Yet there has never been any doubt about the fundamental importance of Machiavelli’s contribution to Western political theory.The Portable Machiavelli brings together the complete texts of The Prince, Belfagor, and Castruccio Castracani, newly translated by Peter Bondanella and Mark Musa especially for this volume. In addition, the editors include an abridged version of The Discourses; a play, The Mandrake Root, in its entirety; seven private letters; and selections from The Art of War and The History of Florence.

At publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. In the post–World War I American climate of isolationism, nativism, democratic expansion of civic rights, and consumerism, Italian-born star Rodolfo Valentino and Italy’s dictator Benito Mussolini became surprising paragons of authoritarian male power and mass appeal. Drawing on extensive archival research in the United States and Italy, Giorgio Bertellini’s work shows how their popularity, both political and erotic, largely depended on the efforts of public opinion managers, including publicists, journalists, and even ambassadors. Beyond the democratic celebrations of the Jazz Age, the promotion of their charismatic masculinity through spectacle and press coverage inaugurated the now-familiar convergence of popular celebrity and political authority. This is the first volume in the new Cinema Cultures in Contact series, coedited by Giorgio Bertellini, Richard Abel, and Matthew Solomon.

This collection – to be issued in three volumes – offers an unprecedented repertoire of vertical readings for the whole poem. As the first volume exemplifies, vertical reading not only articulates unexamined connections between the three canticles but also unlocks engaging new ways to enter into core concerns of the poem. The three volumes thereby provide an indispensable resource for scholars, students and enthusiasts of Dante. The volume has its origin in a series of thirty-three public lectures held in Trinity College, the University of Cambridge (2012-2016) which can be accessed at the Cambridge Vertical Readings in Dante’s Comedy website.

Niccolo Machiavelli, the first great Italian historian, and one of the most eminent political writers of any age or country, was born at Florence, May 3, 1469. He was of an old though not wealthy Tuscan family, his father, who was a jurist, dying when Niccolo was sixteen years old. We know nothing of Machiavelli's youth and little about his studies. He does not seem to have received the usual humanistic education of his time, as he knew no Greek. The first notice of Machiavelli is in 1498 when we find him holding the office of Secretary in the second Chancery of the Signoria, which office he retained till the downfall of the Florentine Republic in 1512. His unusual ability was soon recognized, and in 1500 he was sent on a mission to Louis XII. of France, and afterward on an embassy to Cæsar Borgia, the lord of Romagna, at Urbino. Machiavelli's report and description of this and subsequent embassies to this prince, shows his undisguised admiration for the courage and cunning of Cæsar, who was a master in the application of the principles afterwards exposed in such a skillful and uncompromising manner by Machiavelli in his Prince. The limits of this introduction will not permit us to follow with any detail the many important duties with which he was charged by his native state, all of which he fulfilled with the utmost fidelity and with consummate skill. When, after the battle of Ravenna in 1512 the holy league determined upon the downfall of Pier Soderini, Gonfaloniere of the Florentine Republic, and the restoration of the Medici, the efforts of Machiavelli, who was an ardent republican, were in vain; the troops he had helped to organize fled before the Spaniards and the Medici were returned to power. Machiavelli attempted to conciliate his new masters, but he was deprived of his office, and being accused in the following year of participation in the conspiracy of Boccoli and Capponi, he was imprisoned and tortured, though afterward set at liberty by Pope Leo X. He now retired to a small estate near San Casciano, seven miles from Florence. Here he devoted himself to political and historical studies, and though apparently retired from public life, his letters show the deep and passionate interest he took in the political vicissitudes through which Italy was then passing, and in all of which the singleness of purpose with which he continued to advance his native Florence, is clearly manifested. It was during his retirement upon his little estate at San Casciano that Machiavelli wrote The Prince, the most famous of all his writings, and here also he had begun a much more extensive work, his Discourses on the Decades of Livy, which continued to occupy him for several years. These Discourses, which do not form a continuous commentary on Livy, give Machiavelli an opportunity to express his own views on the government of the state, a task for which his long and varied political experience, and an assiduous study of the ancients rendered him eminently qualified. The Discourses and The Prince, written at the same time, supplement each other and are really one work. Indeed, the treatise, The Art of War, though not written till 1520 should be mentioned here because of its intimate connection with these two treatises, it being, in fact, a further development of some of the thoughts expressed in the Discorsi. The Prince, a short work, divided into twenty-six books, is the best known of all Machiavelli's writings. Herein he expresses in his own masterly way his views on the founding of a new state, taking for his type and model Cæsar Borgia, although the latter had failed in his schemes for the consolidation of his power in the Romagna. The principles here laid down were the natural outgrowth of the confused political conditions of his time.