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The printed debut of the canzone villanesca alla napolitana occurred on 24 October 1537, in Naples. Fifteen anonymous 'rustic songs' were published by Johannes de Colonia in a pocket-sized anthology with a cover featuring three women with hoes tilling the soil. The adjective villanesca (from villano or peasant) in the strict sense of the word means rustic or crude, but in this new context it also intimates that Neapolitan poet-musicians had been affected by the instinctive lyrical traditions of everyday people. The articles in this volume trace the Neapolitan origins of this song form, and its subsequent development as it spread quickly throughout Italy in a succession of editions published in Venice and Rome, providing a diverse repertory of lively songs to amuse the privileged that held and attended academies. Several studies focus on key figures in this process, notably Ferrante Sanseverino, Prince of Salerno, and Orlando di Lasso. At the same time the author relates these developments to the contemporary political context, notably the rivalry of Spain and France for control of the Kingdom of Naples.
"Frankly, I am amazed that no one has already written this book, It is a fascinating topic, and David Gentilcore does it justice, covering five hundred years in scrutinizing detail. There is probably no food so readily associated with Italy than the tomato, and yet its origin is in the Americas." KEN ALBALA, University of the Pacific, author of Beans: A History --
From Court to Forest is a critical and historical study of the beginnings of the modern literary fairy tale. From Court to Forest is a critical and historical study of the beginnings of the modern literary fairy tale. Giambattista Basile's Lo cunto de Ii cunti written in Neapolitan dialect and published in 1634-36, comprises fifty fairy tales and was the first integral collection of literary fairy tales to appear in Western Europe. It contains some of the best known fairy-tales types, such as Sleeping Beauty, Puss in Boots, Cinderella, and others, many in their earliest versions. Although it became a central reference point for subsequent fairy tale writers, such as Perrault and the Grimms, as well as a treasure chest for folklorists,Lo cunto de Ii cunti has had relatively little attention devoted to it by literary scholars. Lo cuntoconstituted a culmination of the erudite interest in popular culture and folk traditions that permeated the Renaissance. But even if Basile drew from the oral tradition, he did not merely transcribe the popular materials he heard and gathered around Naples and in his travels. He transformed them into original tales distinguished by vertiginous rhetorical play, abundant representations of the rituals of everyday life and the popular culture of the time, and a subtext of playful critique of courtly culture and the canonical literary tradition. This work fills a gap in fairy-tale and Italian literary studies through its rediscovery of one of the most important authors of the Italian Baroque and the genre of the literary fairy tale.
Sara Elena flees Spain in 1492, narrowly avoiding capture by her pursuer, Don Antonio Morales, evil deputy of the Inquisition. On the eve of her departure, she marries Juan, the man she has come to love. However, she and her new groom must soon travel different paths and endure dangerous separation for a time. Juan travels west with Columbus on the voyage of discovery. Will loneliness subdue him? Will he fall victim to temptation? Sara sails eastward seeking a welcome and a home. But which country will receive her, one of the hundreds of Jews exiled by Queen Isabella and King Ferdinand? Along the way she makes friends. Evil follows her as Sara builds a new life in a foreign country. Just when joy is about to overtake her, a cruel violence and heart-breaking news threaten to overwhelm her. Will her dream of a real home vanish like a wisp of smoke?