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The Italian neoavanguardia, a literary and artistic movement characterized by a strong push towards experimentation, playfulness, and new forms of language usage, was founded at the beginning of the 1960s by a group of poets, critics, artists, and composers. Although the neoavanguardia movement has been primarily defined and examined in a literary context, it is broadly discussed in this collection as also affecting other artistic forms such as the visual arts, music, and architecture. In examining this often controversial movement, Neoavanguardia's contributors include topics such as critical-theoretical debates, the crisis of literature as defined within the movement, and issues of gender in 1960s Italian art and literature. This important collection interrogates the arts as creative codes, their ability to question reality, and their capacity to survive. In so doing, it paves the way for future interdisciplinary investigations of this complex cultural formation.
Offers a selection of Italian poems, with notes and commentary in English, and critical essays on individual authors and trends. This volume covers the period from the early years of the twentieth century up to the 1970s, and focuses on the work of poets such as Ungaretti and Saba. It is intended for those with a good working knowledge of Italian.
Drawing on the recent renewal of interest in the debate on orality and literacy this book investigates the varying perceptions and representations of orality in contemporary Italian fiction, providing a fresh perspective on this rich and fast-developing debate and on the study of the Italian literary language. The book brings together a number of complementary approaches to orality from the fields of linguistics, literary and media studies and offers a detailed analysis of a broad variety of authors and texts that appeared over the last three decades - ranging from internationally acclaimed writers such as Celati, Duranti and Tabucchi, through De Luca and Baricco, to the latest generation of writers, such as Campo, Ballestra and Nove. By exploring the complementary facets of Italian orality, and its diachronical developments since the seventies, this study questions the traditionally dichotomic approach to the study of orality and literacy and posits a more flexible, cross-modal approach that accounts for the increasing hybridisation of text forms and media and for the greater interaction between the spoken and the written as well as their representations.
The main aim of the book has been to include writers, movements, forms of writing and textual strategies, critical ideas, and texts that are significant in relation to postmodernist literature. In addition, important scholars, journals, and cultural processes have been included where these are felt to be relevant to an understanding of postmodernist writing. This second edition of Historical Dictionary of Postmodernist Literature and Theater contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 400 cross-referenced entries on postmodernist writers, the important postmodernist aesthetic practices, significant texts produced throughout the history of postmodernist writing, and important movements and ideas that have created a variety of literary approaches within the form. This book is an excellent access point for students, researchers, and anyone wanting to know more about the postmodernist literature and theater.
Based on meticulous research in the archives of some of the most prominent Italian avant-garde writers, Poetry on Stage examines the literary and ideological climate of the sixties and seventies.
"The A to Z of Postmodernist Literature and Theater examines the different areas of postmodernist literature and theater and the variety of forms that have been produced. It contains a list of acronyms, a chronology, an introductory essay, a bibliography, and several hundred cross-referenced dictionary entries on individual writers, important aesthetic practices, significant texts, and important movements and ideas that have created a variety of literary approaches within the form. By placing these concerns within the historical, philosophical, and cultural contexts of postmodernism, this reference explores the frameworks within which postmodernist literature of the late twentieth and early twenty-first centuries operates." --Book Jacket.
Through a series of original analyses of experimental works that exist well outside of the established territory inhabited by the Italian literary canon, or which purposely position themselves at its margins, this volume proposes a new way to understand the goals of literary experimentation as a means to break the canon and give literature the same freedom that is easily granted to other arts. This serves to allow literature itself to intersect with those other art forms, while enhancing the powerful and positive outcomes of literary experimentation. Specifically, the volume explores a series of 20th- and 21st-century Italian works that are characterized by a non-normative approach to language or the act of writing itself. The contributors, while addressing diverse writers, and often even adopting different theoretical interpretations of experimentalism itself, all analyze the intersection between experimental literatures and other art forms, as well as cross-disciplinary and non-traditional approaches to the theme of experimentation.
The Author in Criticism:Italo Calvino’s Authorial Image in Italy, the United States, and the United Kingdom explores the cultural and historic patterns and differences in the critical readings of Italian author Italo Calvino’s works in the United States of America, the United Kingdom, and Italy. It considers the external factors that contribute to create recognizable patterns in the readings of Calvino’s texts in different contexts. This volume therefore covers, most notably, matters of genre (science fiction, postmodernism), cultural perceptions and conventions, the (re)current image of the author in different media, academic schools, -curricula and -canons, biographical information (such as gender and background), and translation and the language in which the author speaks (or fails to speak) to us. It traces the influence of these aspects in the academic discourse on Calvino. The Author in Criticism also analyzes Calvino’s various professional roles as writer, editor, essayist, journalist, private correspondent, and public, cosmopolitan intellectual, reappraising their often little acknowledged importance for academic criticism. An important underlying idea is that the preconceived image that every critic has of Calvino before even opening one of his books is often solidified and repeated even in the most refined and complex critical analyses. This volume purposefully foregrounds the textual and non-textual parts that are usually considered peripheral to the works of an author, such as book covers, blurbs, reviews, talks, interviews, etc. In this way, this book provides insight into the reception of Calvino’s works in different countries. Moreover, it forms a broader reflection of and on important constants in the workings of literary criticism, and on the way academic discourses have developed in various cultural contexts over the last decades.
The Encyclopedia of Italian Literary Studies is a two-volume reference book containing some 600 entries on all aspects of Italian literary culture. It includes analytical essays on authors and works, from the most important figures of Italian literature to little known authors and works that are influential to the field. The Encyclopedia is distinguished by substantial articles on critics, themes, genres, schools, historical surveys, and other topics related to the overall subject of Italian literary studies. The Encyclopedia also includes writers and subjects of contemporary interest, such as those relating to journalism, film, media, children's literature, food and vernacular literatures. Entries consist of an essay on the topic and a bibliographic portion listing works for further reading, and, in the case of entries on individuals, a brief biographical paragraph and list of works by the person. It will be useful to people without specialized knowledge of Italian literature as well as to scholars.
The debate on literature and the arts provoked by the Italian neoavant-garde (neoavanguardia) is undoubtedly one of the most animated and controversial the country has witnessed from World War II to the present. Comprising the period between the late 1950s and the late 1960s, the phenomenon of the neoavanguardia involved key writers, critics, and artists, both as insiders - Sanguineti, Balestrini, Guglielmi, Eco, and others - and adversaries such as Pasolini, Calvino, and Moravia. In The New Avant-Garde in Italy - the first book in English to document the movement - John Picchione's objective is twofold: to provide a comprehensive analysis of the theoretical tenets that inform the works of the neoavanguardia and to show how they are applied to the poetic practices of its authors. The neoavanguardia cannot, Picchione argues, be defined as a movement with a unified program expressed in the form of manifestos or shared theoretical principles. It experiences irreconcilable internal conflicts that are explored as a split between two main blocs - one that is tied to the project of modernity, the other to post-modern aesthetic postures. This study suggests that some of the contentious views proposed by the neoavanguardia anticipated a wide range of issues that continue to be significant and pressing to this day.