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A collection of essays debating what fourteenth-century Italy and its literature meant to Chaucer.
This collection of essays offers an authoritative examination and appraisal of the French-American novelist Raymond Federman's many contributions to humanities scholarship, including Holocaust studies, Beckett studies, translation studies, experimental fiction, postmodernism, and autobiography. Although known primarily as a novelist, Federman (1928–2009) is also the author of numerous books of poetry, essays, translations, and criticism. After emigrating to the United States in 1942 and receiving a Ph.D. in comparative literature at UCLA in 1957, he held professorships in the University at Buffalo's departments of French and English from 1964 to 1999. Together with Steve Katz and Ronald Sukenick, he was one of the original founders of the Fiction Collective, a nonprofit publishing house dedicated to avant garde, experimental prose. Far too many accounts treat Federman as merely a member of a small group of writers who pioneered "metafictional" or "postmodern" American literature. Federman's Fiction will introduce (or, for some, reintroduce) to the broader scholarly community a creative and daring thinker whose work is significant not just to considerations of the development of innovative fiction, but to a number of other distinct disciplines and emerging critical discourses.
Byron and Italy tackles a subject to which no book has been devoted exclusively since the early 1940s. Peter Cochran writes not just about Byron’s relationships with Italian literature, not just about his relationships with Italian women, and not just about his relationship with Italian politics. He writes about Byron’s relationship with Italy as a whole, seeing the poet’s sojourn in Italy as a vain attempt to forge a new identity for himself. Drawing on a wide range of up-to-date research, including his own as editor of Teresa Guiccioli’s Lord Byron’s Life in Italy and the diary of John Cam Hobhouse, Cochran traces numerous threads of evidence showing how the critical reception Byron’s poetry received from Italian critics gave him a new sense of self-worth, and how his experience of Italian Carnival, and of the Italian mock-heroic tradition in verse, gave him a new idea of who he was, and of what poetry was about. Among much else, the book includes new material on the Carbonari and on Byron’s reading of Ugo Foscolo, and an appendix containing translations of all known Italian and Austrian police-reports on Byron and his entourage.
This book breaks new ground by illuminating the key role of verse-writing as a cultural strategy on the part of Italian Renaissance artists. It does so by undertaking a wide-ranging study of poems by painters, sculptors, architects, and goldsmiths who were active in Florence under Cosimo I and Francesco I de’ Medici – a milieu in which many practitioners of the visual arts appropriated the literary medium to address issues related to their primary professions. New Apelleses, and New Apollos intervenes in the burgeoning scholarly discourse on the intellectual life of artists in early modern Italy, revealing how poetry often provides fresh insights into art-theoretical debates, patronage questions, workshop cultures, issues of professional identity, and networks of personal relations.
Dante's conception of language is encompassed in all his works and can be understood in terms of a strenuous defence of the volgare in tension with the prestige of Latin. By bringing together different approaches, from literary studies to philosophy and history, from aesthetics to queer studies, from psychoanalysis to linguistics, this volume offers new critical insights on the question of Dantes language, engaging with both the philosophical works characterized by an original project of vulgarization, and the poetic works, which perform a new language in an innovative and self-reflexive way. In particular, Dantes Plurilingualism explores the rich and complex way in which Dantes linguistic theory and praxis both informs and reflects an original configuration of the relationship between authority, knowledge and identity that continues to be fascinated by an ideal of unity but is also imbued with a strong element of subjectivity and opens up towards multiplicity and modernity.