Embodied Cognition And The Grotesque In Calvino's La Giornata D'Uno Scrutatore And Sanguineti's Capriccio Italiano, Marco Caracciolo
CLCWeb: Comparative Literature and Culture
In his article "Embodied Cognition and the Grotesque in Calvino's La giornata d'uno scrutatore and Sanguineti's Capriccio italiano" Marco Caracciolo analyzes the multiple dimensions of embodied experience and how they can be brought to bear on literary texts. Drawing on scholarship in cognitive science, he argues that the embodiment of people's engagement with the world emerges from the interaction between the physical structure of the body and socio-cultural practices. Caracciolo shows how such nexus of biological make-up and culture can give rise to particularly complex meanings in the representation of grotesque bodies. In order to illustrate ...
Saints' Bones Or Sinner's Words?: Rhetorical Destabilization, Chaucer's Pardoner, And Boccaccio's Frate Cipolla, Christopher Samuel Striker
Honors Theses By Year
The essay that follows this Preface has little to do with the question I set about answering in January of 2013 when I first sat down to write about relics, rhetoric, Chaucer’s “Pardoner’s Tale,” and Boccaccio’s Decameron character Frate Cipolla. As I delved into the “Pardoner’s Tale,” looking at how the Pardoner treated his relics and how he presented them to his audiences, I realized that the Pardoner’s words meant different things to different people and that this idea was a primary focus of the text. I also realized that the process of denoting particular ...
Beyond The Suffering Of Being: Desire In Giacomo Leopardi And Samuel Beckett, 2013 Western University
Beyond The Suffering Of Being: Desire In Giacomo Leopardi And Samuel Beckett, Roberta Cauchi-Santoro
University of Western Ontario - Electronic Thesis and Dissertation Repository
In this dissertation, I question critical approaches that argue for Giacomo Leopardi’s and Samuel Beckett’s pessimism and nihilism. Beckett quotes Leopardi when discussing the removal of desire in his monograph Proust, a context that has spurred pessimist and nihilist readings, whether the focus has been on one writer, the other, or both. I argue that the inappropriateness of the pessimist and nihilist label is, on the contrary, specifically exposed through the role of desire in the two thinkers. After tracing the notion of desire as it developed from Leopardi to key twentieth-century thinkers, I illustrate how, in contrast ...
Pasolini's Laugh: Joyful Ignorance In The Decameron, 2013 Western University
Pasolini's Laugh: Joyful Ignorance In The Decameron, Andrea Privitera
Modern Languages and Literatures Annual Graduate Conference
In this paper, I discuss Giovanni Boccaccio's The Decameron and its 1971 film adaptation by Pier Paolo Pasolini. To be more precise, I focus on the fifth novella of the sixth day, the one about Giotto and Forese, and its audiovisual re-elaboration, which can be seen as a very brief and at the same time very vivid example of Pasolini’s ideas on society, language and communication.
The "Light Of The Intellect": Botticelli's Drawings For Dante's Divine Comedy, 2012 University of San Francisco
The "Light Of The Intellect": Botticelli's Drawings For Dante's Divine Comedy, Kelsey Fox
Student Research & Creativity - Day of Celebration
Dante’s Divine Comedy had a substantial history of illustration before Sandro Botticelli (1444/5-1510) was commissioned by Lorenzo di Pierfrancesco de’ Medici to produce 102 drawings to accompany the text. Botticelli is often described as a studious, humanist artist, incorporating his understanding of classical texts and observational knowledge into his works. This research paper will explore the innovative nature of Botticelli’s series of drawings, especially as it relates to his graphic style, varying modes of composition, and conceptual priorities. It will also analyze the conceptual differences between the Inferno and Paradiso.
The Political Persecution Of A Poet: A Detail Of Dante's Exile, 2012 Parkland College
The Political Persecution Of A Poet: A Detail Of Dante's Exile, Jason Ader
A with Honors Projects
Durante degli Alighieri, known throughout the world as simply Dante, was a fourteenth century Italian poet, philosopher, literary theorist, and politician. He is best known for his epic Commedia, which was later dubbed The Divine Comedy. Commedia is generally considered the greatest Italian literary work and a masterpiece of world literature. Due to the turbulent political atmosphere of his time and place, Dante spent over a third of his life living in exile. This paper will explore the details of Dante's exile and the influence that it had upon his work.
Alessandro Baricco: A Modern Homer / Alessandro Baricco: Omero Modern, 2010 University of Connecticut
Alessandro Baricco: A Modern Homer / Alessandro Baricco: Omero Modern, Whitney Losapio
Honors Scholar Theses
Alessandro Baricco is an Italian author, pianist, journalist and music critic, among a wide range of many other talents. His novels have won great critical acclaim in Italy and France and are popular around the world. While generally considered among the postmodern writers, some critics have accused him of being a forerunner in a 1990s movement dubbed letteratura giovanile, that is juvenile literature that is simplistic, targets a young audience and is created for the sole purpose of making money. This criticism is unwarranted. Baricco is a multitalented author who pays strict attention to the quality of his work and ...
Still Figures: Photography, Modernity And Gender In Neera’S Fotografie Matrimoniali, Silvia Valisa
This essay discusses author Neera's early novel "Fotografie matrimoniali" (1883) in light of its ambiguous engagement with modernity. I argue that modernity takes on different meanings and ideological connotations in the text, in particular in its discussion of gender, while participating in a nationalist rhetoric that simultaneously gives room to and ‘frames’ its female subjects. I thus investigate how the representation of gender roles is impacted by the changes brought forward by modernity, and discuss whether Neera’s formal (photographic) choice succeeds in opening a different narrative and ideological space.