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Aria Z Cabot

Southern Methodist University, World Languages and Literatures, World Language Technology Center Director

Truman State University, Department of Classical and Modern Languages, Faculty Member

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Aria Zan Cabot is the Director of the World Languages and Literatures Technology Center at Southern Methodist University. She was formerly a Visiting Assistant Professor of Italian at Truman State University in the Classical and Modern Languages department, where she was also on the Medieval and Early Modern Studies Minor Committee and the Classical and Modern Languages Festival Committee, and where she served as Faculty Advisor of C.I.A.O. (Club for Italian Appreciation and Outreach).

Aria holds an M.A. and a Ph.D. in Italian from the University of Wisconsin-Madison and a B.A. in English and Italian, summa cum laude, from Smith College. An experienced Italian language instructor with a demonstrated history of developing and teaching foreign language, literature, and culture courses, she is an active member of the Council on Undergraduate Research (CUR), Modern Language Association (MLA), American Association of Teachers of Italian (AATI), and American Association for Italian Studies (AAIS).

Prior to joining SMU, she taught Italian at Truman State University, UW-Madison, the UW-Madison Alumni Association’s Grandparents University, and the Italian Workmen’s Club in Madison, Wisconsin. She spent five years studying and working in Italy as a Fulbright English Teaching Assistant and as the Resident Director of a study abroad program in Florence, Italy.
Address: World Languages and Literatures
Southern Methodist University
Dallas, TX 75275

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Adriano D'Aloia

Università degli Studi di Bergamo (University of Bergamo)

Central European University

Kansas State University

Pierre-Yves Beaurepaire

University of Nice Sophia Antipolis, Nice, France

Armando Marques-Guedes

UNL - New University of Lisbon

Ucla

Antoine Roullet

Centre National de la Recherche Scientifique / French National Centre for Scientific Research

Francisco de Paula Souza de Mendonça Júnior

UFSM - Universidade Federal de Santa Maria

Patrick Lowenthal

Boise State University

S. Sadi SEFEROGLU

Hacettepe University

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Book Reviews by Aria Z Cabot

“Manuela Scarci, Creating Women: Representation, Self-Representation, and Agency in the Renaissance,” in Forum Italicum 48 (November 2014): 626-629

“Eugenia Paulicelli, Writing Fashion in Early Modern Italy from Sprezzatura to Satire” in Forum Italicum (Spring 2016)

Curriculum Vitae

“Natalia Costa-Zalessow, ed. Voice of a Virtuosa and Courtesan: Selected Poems of Margherita Costa” in Annali d’Italianistica, vol. 34 (2016): 577-578.

“Craig A. Monson, Habitual Offenders. A True Tale of Nuns, Prostitutes, and Murderers in Seventeenth-Century Italy,” in Annali d’Italianistica 35 (2017)

“Eugenio L. Giusti, The Renaissance Courtesan in Words, Letters and Images: Social Amphibology and Moral Framing (A Diachronic Perspective),” in Forum Italicum (Fall 2015). Book Review.

Papers by Aria Z Cabot

Courtney Quaintance. Textual Masculinity and the Exchange of Women in Renaissance Venice

Italica, Jun 22, 2017

Playing God: Alberto Caeiro’s “Num meio-dia de fim de primavera” and Pier Paolo Pasolini’s

Carte Italiane, 2015

Ciò di cui viene dissacrata la innocenza non è l'arte ma l'autore. Pier Paolo Pasolini, "L'ambigu... more Ciò di cui viene dissacrata la innocenza non è l'arte ma l'autore. Pier Paolo Pasolini, "L'ambiguità" This paper examines the relationship between "creators" (gods and poets) and their creations in the poem "Once at midday in late spring" ("Num meio-dia de fim de primavera") by the Portuguese poet Fernando Pessoa (1888-1935)-but ostensibly authored by Alberto Caeiro, one of the numerous fictional heteronyms through which Pessoa published entire works in verse and prose-and Pier Paolo Pasolini's short film, La ricotta (1963). I focus in particular on Pessoa and Pasolini's displacement of a divine subject onto a human object and of creative authority onto secondary authors. Secondly, I consider the playfulness inherent in the irreverent rejection of the institutionalization of artistic and religious creation in the poem and the film, as well as the use of bucolic settings that revive a kind of pre-historical, pre-Christian religiosity in a landscape that is nonetheless distinct from traditional "pastoral" modes due to the constant interruption of modern systems of production and representation. Finally, I explore the reversal of the hierarchical relationship between ignorance and intellect, pathos and logos, which is employed in both works in order to access a more authentic representation of natural existence. "Once at midday in late spring" ("Num meio-dia de fim de primavera") is the eighth of the forty-nine poems that comprise the collection entitled The Keeper of Sheep ("O Guardador de Rebanhos"). In the seventeen stanzas of the poem, the poet adopts a playful tone to describe a dream in which God descends from the cross, taking residence in the poet's house in the form of an "Eternal Child" who finally finds the freedom to criticize God and create mischief in the poet's village. The emphasis on the child's ignorance of worldly affairs, the pleasure he finds in observing nature and his inability to comprehend the poet's "stories about the doings of mankind" ("histórias das cousas só dos homens") 1 provide an example of why Edwin Honig and Susan Brown, authors of the English translation, define The Keeper of Sheep as a "poetic manifesto, proclaiming the unknowable and manifold nature of reality as something

Playing God: Alberto Caeiro’s “Num meio-dia de fim de primavera” and Pier Paolo Pasolini’s <em>La Ricotta</em>

Carte italiane, 2015

Ciò di cui viene dissacrata la innocenza non è l'arte ma l'autore. Pier Paolo Pasolini, "L'ambigu... more Ciò di cui viene dissacrata la innocenza non è l'arte ma l'autore. Pier Paolo Pasolini, "L'ambiguità" This paper examines the relationship between "creators" (gods and poets) and their creations in the poem "Once at midday in late spring" ("Num meio-dia de fim de primavera") by the Portuguese poet Fernando Pessoa (1888-1935)-but ostensibly authored by Alberto Caeiro, one of the numerous fictional heteronyms through which Pessoa published entire works in verse and prose-and Pier Paolo Pasolini's short film, La ricotta (1963). I focus in particular on Pessoa and Pasolini's displacement of a divine subject onto a human object and of creative authority onto secondary authors. Secondly, I consider the playfulness inherent in the irreverent rejection of the institutionalization of artistic and religious creation in the poem and the film, as well as the use of bucolic settings that revive a kind of pre-historical, pre-Christian religiosity in a landscape that is nonetheless distinct from traditional "pastoral" modes due to the constant interruption of modern systems of production and representation. Finally, I explore the reversal of the hierarchical relationship between ignorance and intellect, pathos and logos, which is employed in both works in order to access a more authentic representation of natural existence. "Once at midday in late spring" ("Num meio-dia de fim de primavera") is the eighth of the forty-nine poems that comprise the collection entitled The Keeper of Sheep ("O Guardador de Rebanhos"). In the seventeen stanzas of the poem, the poet adopts a playful tone to describe a dream in which God descends from the cross, taking residence in the poet's house in the form of an "Eternal Child" who finally finds the freedom to criticize God and create mischief in the poet's village. The emphasis on the child's ignorance of worldly affairs, the pleasure he finds in observing nature and his inability to comprehend the poet's "stories about the doings of mankind" ("histórias das cousas só dos homens") 1 provide an example of why Edwin Honig and Susan Brown, authors of the English translation, define The Keeper of Sheep as a "poetic manifesto, proclaiming the unknowable and manifold nature of reality as something

Eugenio L Giusti, The Renaissance Courtesan in Words, Letters and Images: Social Amphibology and Moral Framing (A Diachronic Perspective)

Forum Italicum, Jun 26, 2015

elegant speech. Furthermore, he is aligning himself with Boccaccio who asserts, in the Conclusion... more elegant speech. Furthermore, he is aligning himself with Boccaccio who asserts, in the Conclusion of his work, that in writing these tales he has, perhaps, ‘troppa licenza usata,’ but he also quickly adds, ‘per ciò che niuna sı̀ disonesta n’è, che, con onesti vocaboli dicendola, si disdica ad alcuno’; Rebhorn translates this as follows: ‘for there is no story so unseemly that it may not be told, provided it is couched in seemly language, as I think I have done very well here.’ Much like Petrarch, and consistently through his beloved Decameron, Boccaccio reiterates the need to believe he will not be forgotten, while entrusting his immortality to the power of his words. In the same way, Rebhorn is wishing his translation well when he shares with us his belief that Boccaccio’s masterpiece is one of the great works of world literature, ‘even in translation.’ We are as convinced as Elissa B Weaver that Rebhorn’s ‘is a masterful translation,’ and we hope as well that there will soon be a lightweight, paperback edition to facilitate our students’ reading of this wonderful work of literature.

Manuela Scarci, Creating Women: Representation, Self-Representation, and Agency in the Renaissance

Forum Italicum, Oct 3, 2014

feuilleton che per una monografia scientifica, Cassamagnaghi ha svolto uno studio accurato e appr... more feuilleton che per una monografia scientifica, Cassamagnaghi ha svolto uno studio accurato e approfondito sulla base di un esteso ventaglio di fonti che comprendono documenti archivistici inediti dell’amministrazione federale statunitense, memorialistica autobiografica, reportage giornalistici e interviste con alcune delle spose di guerra ancora oggi in vita. Il testo si avvale anche dell’analisi di alcune pellicole cinematografiche, dal celeberrimo Paisà (1946) di Roberto Rossellini al poco noto The Search (1948) di Fred Zinnemann, sebbene la fiction – sia essa d’autore omeno – non appaia in grado di fornire elementi per delineare reali esperienze storiche, ma possa al massimo offrire spunti per definire la percezione delle spose italiane di guerra nell’immaginario collettivo oppure l’impiego della loro presenza per fini propagandistici nel clima della nascente guerra fredda. Quest’ultima riflessione è emblematica di come il libro contenga molto più di quanto il titolo prometta. Cassamagnaghi, infatti, si sofferma anche su aspetti collaterali delle vicende al centro della sua narrazione. Tra tali variazioni sul tema risaltano in particolare il fenomeno della prostituzione delle italiane ai militari statunitensi, l’ostracismo sociale subito in Italia dai figli mulatti dei soldati afro-americani e i matrimoni contratti dai prigionieri di guerra italiani, internati negli Stati Uniti, con cittadine americane molto spesso di ascendenza italiana. L’ampiezza della prospettiva adottata è generalmente utile per contestualizzare l’esperienza delle spose di guerra. Talvolta, però, sconfina pure in digressioni superflue, come nel caso delle osservazioni sul casting di The Search o delle pagine dedicate a G.I. War Brides (1946), un film di George Blair ispirato alle loro traversie. Rimane, inoltre, in ombra la dimensione quantitativa dell’analisi. Per esempio, pur avendo a disposizione i dati sulle spose e sui figli di guerra italiani, il lettore cercherebbe invano il numero delle fidanzate giunte negli Stati Uniti grazie al Fiancées Act del giugno del 1946 oppure la cifra di quelle rimpatriate perché non si erano sposate entro il termine dei tre mesi. Nondimeno Cassamagnaghi ha svolto una ricerca significativa, i cui risultati aiutano a fare luce su un tassello poco studiato dell’emigrazione italiana negli Stati Uniti nel secondo dopoguerra.

Pellegrino D’Acierno and Stanislao G. Pugliese, eds. Delirious Naples. A Cultural History of the City of the Sun

Quaderni D Italianistica, Jun 11, 2021

Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more

Playing God: Alberto Caeiro's "Num meio-dia de fim de primavera" and Pier Paolo Pasolini's <em>La Ricotta</em>

Carte italiane, 2015

Ciò di cui viene dissacrata la innocenza non è l'arte ma l'autore. Pier Paolo Pasolini, "L'ambigu... more Ciò di cui viene dissacrata la innocenza non è l'arte ma l'autore. Pier Paolo Pasolini, "L'ambiguità" This paper examines the relationship between "creators" (gods and poets) and their creations in the poem "Once at midday in late spring" ("Num meio-dia de fim de primavera") by the Portuguese poet Fernando Pessoa (1888-1935)-but ostensibly authored by Alberto Caeiro, one of the numerous fictional heteronyms through which Pessoa published entire works in verse and prose-and Pier Paolo Pasolini's short film, La ricotta (1963). I focus in particular on Pessoa and Pasolini's displacement of a divine subject onto a human object and of creative authority onto secondary authors. Secondly, I consider the playfulness inherent in the irreverent rejection of the institutionalization of artistic and religious creation in the poem and the film, as well as the use of bucolic settings that revive a kind of pre-historical, pre-Christian religiosity in a landscape that is nonetheless distinct from traditional "pastoral" modes due to the constant interruption of modern systems of production and representation. Finally, I explore the reversal of the hierarchical relationship between ignorance and intellect, pathos and logos, which is employed in both works in order to access a more authentic representation of natural existence. "Once at midday in late spring" ("Num meio-dia de fim de primavera") is the eighth of the forty-nine poems that comprise the collection entitled The Keeper of Sheep ("O Guardador de Rebanhos"). In the seventeen stanzas of the poem, the poet adopts a playful tone to describe a dream in which God descends from the cross, taking residence in the poet's house in the form of an "Eternal Child" who finally finds the freedom to criticize God and create mischief in the poet's village. The emphasis on the child's ignorance of worldly affairs, the pleasure he finds in observing nature and his inability to comprehend the poet's "stories about the doings of mankind" ("histórias das cousas só dos homens") 1 provide an example of why Edwin Honig and Susan Brown, authors of the English translation, define The Keeper of Sheep as a "poetic manifesto, proclaiming the unknowable and manifold nature of reality as something

Poklady Orientu : historie a kultura islámu

Sensibility, Self-Control, and Friendship in the Writings of the Princess of Carignano, Caluso and Alfieri

Arts et Savoirs, 2019

Vernon Hyde Minor, Baroque Visual Rhetoric

Forum Italicum: A Journal of Italian Studies, 2017

Dukes, it is surprising that the book ends with the short rule of Piero di Lorenzo de’ Medici in ... more Dukes, it is surprising that the book ends with the short rule of Piero di Lorenzo de’ Medici in 1494. Certainly, the Medici enjoyed far less ambiguity concerning their political standing during the 16th century, but a rich vein of historiography has begun to explore the myriad ways that these later Medici men and women tried to consolidate their power and establish themselves over the political class in and outside Florence. These efforts may have offered another interesting perspective on the book’s themes. In addition, the inclusion of lesser known, but important members of the 15th-century Medici family—Giovanni di’ Bicci, or Cosimo’s son Giovanni, for example—may also have added new insights into the nature and strategies underlyingMedici political power. But these are truly quibbles: this is an essential book for anyone working on the politics and political culture of 15th-century Florence, and it provides much food for thought for scholars now looking at later centuries or lesser-known figures.

Eugenio L Giusti, The Renaissance Courtesan in Words, Letters and Images: Social Amphibology and Moral Framing (A Diachronic Perspective)

Forum Italicum: A Journal of Italian Studies, 2015

elegant speech. Furthermore, he is aligning himself with Boccaccio who asserts, in the Conclusion... more elegant speech. Furthermore, he is aligning himself with Boccaccio who asserts, in the Conclusion of his work, that in writing these tales he has, perhaps, ‘troppa licenza usata,’ but he also quickly adds, ‘per ciò che niuna sı̀ disonesta n’è, che, con onesti vocaboli dicendola, si disdica ad alcuno’; Rebhorn translates this as follows: ‘for there is no story so unseemly that it may not be told, provided it is couched in seemly language, as I think I have done very well here.’ Much like Petrarch, and consistently through his beloved Decameron, Boccaccio reiterates the need to believe he will not be forgotten, while entrusting his immortality to the power of his words. In the same way, Rebhorn is wishing his translation well when he shares with us his belief that Boccaccio’s masterpiece is one of the great works of world literature, ‘even in translation.’ We are as convinced as Elissa B Weaver that Rebhorn’s ‘is a masterful translation,’ and we hope as well that there will soon be a lightweight, paperback edition to facilitate our students’ reading of this wonderful work of literature.

Eugenia Paulicelli, Writing Fashion in Early Modern Italy: From Sprezzatura to Satire

Forum Italicum: A Journal of Italian Studies, 2016

as explored and revealed in the series should be seen as a “parochial and pluralistic American la... more as explored and revealed in the series should be seen as a “parochial and pluralistic American landscape” (85) where identities form and develop under often non-traditional circumstances or conventions and need to be understood within the new American multicultural and “historical contexts.” If Chapter 2 investigates identity in its broader sense, Chapter 3—“God Help the Beast inMe”—appears to be focused on the inner battle—often dark—of the human soul. Tony Soprano, like most of the men in the series, is seen as an individual always interrogating his inner self and in search of satisfaction, balance, and stability, but mostly while trying to understand what it entails to act, feel, and behave like a man. In his remarkable perspective, Ricci emphasizes how often the fragility in these powerful men appears “to undermine their masculinity” and seems to refer to the secular dichotomy of what is perceived as a feminine approach to life in opposition to a more “masculine” nature in acting and reacting. The “disorientation” by men who should be “in charge” puts into jeopardy the very essence of what it means to be a father, a son, a mobster in its archaic essence, and this is apparently resolved through the remarkable narration of the series’ writer David Chase, who literally puts a cigar in the men’s mouth to visualize the probably “only” masculine side still intact. The examination of the series via the character of Tony Soprano continues in Chapter 4, “Two Tonys: Drawing Conclusions from Mediated Mob Images.” Ricci here transforms the journey into a sort of pilgrimage into the domain of the self and the inner struggle between fighting identities: an adult man who keeps struggling to understand “his foibles, to develop strategies to better control his fate,” in Ricci’s words; a man who tries everything to achieve his goal in a duplicity of acts—he is a fighter and a survivor, never a victim, he uses subterfuge and clarity, manipulating realities to conquer a soul stability and fulfill a lacking “wholeness.” In sum, Ricci’s investigation is indeed a “good story told well,” and the book portrays this in a powerful manner while revealing Tony Soprano and his detailed story and history as part of Ricci’s own story. Tony and the entire Soprano family become, through Ricci’s sublime journey, the storytelling of our time, of our anxieties, perplexities, and competitive individualities that make American society the place it is.

Manuela Scarci, Creating Women: Representation, Self-Representation, and Agency in the Renaissance

Forum Italicum: A Journal of Italian Studies, 2014

feuilleton che per una monografia scientifica, Cassamagnaghi ha svolto uno studio accurato e appr... more feuilleton che per una monografia scientifica, Cassamagnaghi ha svolto uno studio accurato e approfondito sulla base di un esteso ventaglio di fonti che comprendono documenti archivistici inediti dell’amministrazione federale statunitense, memorialistica autobiografica, reportage giornalistici e interviste con alcune delle spose di guerra ancora oggi in vita. Il testo si avvale anche dell’analisi di alcune pellicole cinematografiche, dal celeberrimo Paisà (1946) di Roberto Rossellini al poco noto The Search (1948) di Fred Zinnemann, sebbene la fiction – sia essa d’autore omeno – non appaia in grado di fornire elementi per delineare reali esperienze storiche, ma possa al massimo offrire spunti per definire la percezione delle spose italiane di guerra nell’immaginario collettivo oppure l’impiego della loro presenza per fini propagandistici nel clima della nascente guerra fredda. Quest’ultima riflessione è emblematica di come il libro contenga molto più di quanto il titolo prometta. Cassamagnaghi, infatti, si sofferma anche su aspetti collaterali delle vicende al centro della sua narrazione. Tra tali variazioni sul tema risaltano in particolare il fenomeno della prostituzione delle italiane ai militari statunitensi, l’ostracismo sociale subito in Italia dai figli mulatti dei soldati afro-americani e i matrimoni contratti dai prigionieri di guerra italiani, internati negli Stati Uniti, con cittadine americane molto spesso di ascendenza italiana. L’ampiezza della prospettiva adottata è generalmente utile per contestualizzare l’esperienza delle spose di guerra. Talvolta, però, sconfina pure in digressioni superflue, come nel caso delle osservazioni sul casting di The Search o delle pagine dedicate a G.I. War Brides (1946), un film di George Blair ispirato alle loro traversie. Rimane, inoltre, in ombra la dimensione quantitativa dell’analisi. Per esempio, pur avendo a disposizione i dati sulle spose e sui figli di guerra italiani, il lettore cercherebbe invano il numero delle fidanzate giunte negli Stati Uniti grazie al Fiancées Act del giugno del 1946 oppure la cifra di quelle rimpatriate perché non si erano sposate entro il termine dei tre mesi. Nondimeno Cassamagnaghi ha svolto una ricerca significativa, i cui risultati aiutano a fare luce su un tassello poco studiato dell’emigrazione italiana negli Stati Uniti nel secondo dopoguerra.

“Time to Come Out, Girl!”: Queering Italian American Sexuality on TV Land’s Younger

Springer eBooks, 2023

“Manuela Scarci, Creating Women: Representation, Self-Representation, and Agency in the Renaissance,” in Forum Italicum 48 (November 2014): 626-629

“Eugenia Paulicelli, Writing Fashion in Early Modern Italy from Sprezzatura to Satire” in Forum Italicum (Spring 2016)

Curriculum Vitae

“Natalia Costa-Zalessow, ed. Voice of a Virtuosa and Courtesan: Selected Poems of Margherita Costa” in Annali d’Italianistica, vol. 34 (2016): 577-578.

“Craig A. Monson, Habitual Offenders. A True Tale of Nuns, Prostitutes, and Murderers in Seventeenth-Century Italy,” in Annali d’Italianistica 35 (2017)

“Eugenio L. Giusti, The Renaissance Courtesan in Words, Letters and Images: Social Amphibology and Moral Framing (A Diachronic Perspective),” in Forum Italicum (Fall 2015). Book Review.

Courtney Quaintance. Textual Masculinity and the Exchange of Women in Renaissance Venice

Italica, Jun 22, 2017

Playing God: Alberto Caeiro’s “Num meio-dia de fim de primavera” and Pier Paolo Pasolini’s

Carte Italiane, 2015

Ciò di cui viene dissacrata la innocenza non è l'arte ma l'autore. Pier Paolo Pasolini, "L'ambigu... more Ciò di cui viene dissacrata la innocenza non è l'arte ma l'autore. Pier Paolo Pasolini, "L'ambiguità" This paper examines the relationship between "creators" (gods and poets) and their creations in the poem "Once at midday in late spring" ("Num meio-dia de fim de primavera") by the Portuguese poet Fernando Pessoa (1888-1935)-but ostensibly authored by Alberto Caeiro, one of the numerous fictional heteronyms through which Pessoa published entire works in verse and prose-and Pier Paolo Pasolini's short film, La ricotta (1963). I focus in particular on Pessoa and Pasolini's displacement of a divine subject onto a human object and of creative authority onto secondary authors. Secondly, I consider the playfulness inherent in the irreverent rejection of the institutionalization of artistic and religious creation in the poem and the film, as well as the use of bucolic settings that revive a kind of pre-historical, pre-Christian religiosity in a landscape that is nonetheless distinct from traditional "pastoral" modes due to the constant interruption of modern systems of production and representation. Finally, I explore the reversal of the hierarchical relationship between ignorance and intellect, pathos and logos, which is employed in both works in order to access a more authentic representation of natural existence. "Once at midday in late spring" ("Num meio-dia de fim de primavera") is the eighth of the forty-nine poems that comprise the collection entitled The Keeper of Sheep ("O Guardador de Rebanhos"). In the seventeen stanzas of the poem, the poet adopts a playful tone to describe a dream in which God descends from the cross, taking residence in the poet's house in the form of an "Eternal Child" who finally finds the freedom to criticize God and create mischief in the poet's village. The emphasis on the child's ignorance of worldly affairs, the pleasure he finds in observing nature and his inability to comprehend the poet's "stories about the doings of mankind" ("histórias das cousas só dos homens") 1 provide an example of why Edwin Honig and Susan Brown, authors of the English translation, define The Keeper of Sheep as a "poetic manifesto, proclaiming the unknowable and manifold nature of reality as something

Playing God: Alberto Caeiro’s “Num meio-dia de fim de primavera” and Pier Paolo Pasolini’s <em>La Ricotta</em>

Carte italiane, 2015

Ciò di cui viene dissacrata la innocenza non è l'arte ma l'autore. Pier Paolo Pasolini, "L'ambigu... more Ciò di cui viene dissacrata la innocenza non è l'arte ma l'autore. Pier Paolo Pasolini, "L'ambiguità" This paper examines the relationship between "creators" (gods and poets) and their creations in the poem "Once at midday in late spring" ("Num meio-dia de fim de primavera") by the Portuguese poet Fernando Pessoa (1888-1935)-but ostensibly authored by Alberto Caeiro, one of the numerous fictional heteronyms through which Pessoa published entire works in verse and prose-and Pier Paolo Pasolini's short film, La ricotta (1963). I focus in particular on Pessoa and Pasolini's displacement of a divine subject onto a human object and of creative authority onto secondary authors. Secondly, I consider the playfulness inherent in the irreverent rejection of the institutionalization of artistic and religious creation in the poem and the film, as well as the use of bucolic settings that revive a kind of pre-historical, pre-Christian religiosity in a landscape that is nonetheless distinct from traditional "pastoral" modes due to the constant interruption of modern systems of production and representation. Finally, I explore the reversal of the hierarchical relationship between ignorance and intellect, pathos and logos, which is employed in both works in order to access a more authentic representation of natural existence. "Once at midday in late spring" ("Num meio-dia de fim de primavera") is the eighth of the forty-nine poems that comprise the collection entitled The Keeper of Sheep ("O Guardador de Rebanhos"). In the seventeen stanzas of the poem, the poet adopts a playful tone to describe a dream in which God descends from the cross, taking residence in the poet's house in the form of an "Eternal Child" who finally finds the freedom to criticize God and create mischief in the poet's village. The emphasis on the child's ignorance of worldly affairs, the pleasure he finds in observing nature and his inability to comprehend the poet's "stories about the doings of mankind" ("histórias das cousas só dos homens") 1 provide an example of why Edwin Honig and Susan Brown, authors of the English translation, define The Keeper of Sheep as a "poetic manifesto, proclaiming the unknowable and manifold nature of reality as something

Eugenio L Giusti, The Renaissance Courtesan in Words, Letters and Images: Social Amphibology and Moral Framing (A Diachronic Perspective)

Forum Italicum, Jun 26, 2015

elegant speech. Furthermore, he is aligning himself with Boccaccio who asserts, in the Conclusion... more elegant speech. Furthermore, he is aligning himself with Boccaccio who asserts, in the Conclusion of his work, that in writing these tales he has, perhaps, ‘troppa licenza usata,’ but he also quickly adds, ‘per ciò che niuna sı̀ disonesta n’è, che, con onesti vocaboli dicendola, si disdica ad alcuno’; Rebhorn translates this as follows: ‘for there is no story so unseemly that it may not be told, provided it is couched in seemly language, as I think I have done very well here.’ Much like Petrarch, and consistently through his beloved Decameron, Boccaccio reiterates the need to believe he will not be forgotten, while entrusting his immortality to the power of his words. In the same way, Rebhorn is wishing his translation well when he shares with us his belief that Boccaccio’s masterpiece is one of the great works of world literature, ‘even in translation.’ We are as convinced as Elissa B Weaver that Rebhorn’s ‘is a masterful translation,’ and we hope as well that there will soon be a lightweight, paperback edition to facilitate our students’ reading of this wonderful work of literature.

Manuela Scarci, Creating Women: Representation, Self-Representation, and Agency in the Renaissance

Forum Italicum, Oct 3, 2014

feuilleton che per una monografia scientifica, Cassamagnaghi ha svolto uno studio accurato e appr... more feuilleton che per una monografia scientifica, Cassamagnaghi ha svolto uno studio accurato e approfondito sulla base di un esteso ventaglio di fonti che comprendono documenti archivistici inediti dell’amministrazione federale statunitense, memorialistica autobiografica, reportage giornalistici e interviste con alcune delle spose di guerra ancora oggi in vita. Il testo si avvale anche dell’analisi di alcune pellicole cinematografiche, dal celeberrimo Paisà (1946) di Roberto Rossellini al poco noto The Search (1948) di Fred Zinnemann, sebbene la fiction – sia essa d’autore omeno – non appaia in grado di fornire elementi per delineare reali esperienze storiche, ma possa al massimo offrire spunti per definire la percezione delle spose italiane di guerra nell’immaginario collettivo oppure l’impiego della loro presenza per fini propagandistici nel clima della nascente guerra fredda. Quest’ultima riflessione è emblematica di come il libro contenga molto più di quanto il titolo prometta. Cassamagnaghi, infatti, si sofferma anche su aspetti collaterali delle vicende al centro della sua narrazione. Tra tali variazioni sul tema risaltano in particolare il fenomeno della prostituzione delle italiane ai militari statunitensi, l’ostracismo sociale subito in Italia dai figli mulatti dei soldati afro-americani e i matrimoni contratti dai prigionieri di guerra italiani, internati negli Stati Uniti, con cittadine americane molto spesso di ascendenza italiana. L’ampiezza della prospettiva adottata è generalmente utile per contestualizzare l’esperienza delle spose di guerra. Talvolta, però, sconfina pure in digressioni superflue, come nel caso delle osservazioni sul casting di The Search o delle pagine dedicate a G.I. War Brides (1946), un film di George Blair ispirato alle loro traversie. Rimane, inoltre, in ombra la dimensione quantitativa dell’analisi. Per esempio, pur avendo a disposizione i dati sulle spose e sui figli di guerra italiani, il lettore cercherebbe invano il numero delle fidanzate giunte negli Stati Uniti grazie al Fiancées Act del giugno del 1946 oppure la cifra di quelle rimpatriate perché non si erano sposate entro il termine dei tre mesi. Nondimeno Cassamagnaghi ha svolto una ricerca significativa, i cui risultati aiutano a fare luce su un tassello poco studiato dell’emigrazione italiana negli Stati Uniti nel secondo dopoguerra.

Pellegrino D’Acierno and Stanislao G. Pugliese, eds. Delirious Naples. A Cultural History of the City of the Sun

Quaderni D Italianistica, Jun 11, 2021

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Playing God: Alberto Caeiro's "Num meio-dia de fim de primavera" and Pier Paolo Pasolini's <em>La Ricotta</em>

Carte italiane, 2015

Ciò di cui viene dissacrata la innocenza non è l'arte ma l'autore. Pier Paolo Pasolini, "L'ambigu... more Ciò di cui viene dissacrata la innocenza non è l'arte ma l'autore. Pier Paolo Pasolini, "L'ambiguità" This paper examines the relationship between "creators" (gods and poets) and their creations in the poem "Once at midday in late spring" ("Num meio-dia de fim de primavera") by the Portuguese poet Fernando Pessoa (1888-1935)-but ostensibly authored by Alberto Caeiro, one of the numerous fictional heteronyms through which Pessoa published entire works in verse and prose-and Pier Paolo Pasolini's short film, La ricotta (1963). I focus in particular on Pessoa and Pasolini's displacement of a divine subject onto a human object and of creative authority onto secondary authors. Secondly, I consider the playfulness inherent in the irreverent rejection of the institutionalization of artistic and religious creation in the poem and the film, as well as the use of bucolic settings that revive a kind of pre-historical, pre-Christian religiosity in a landscape that is nonetheless distinct from traditional "pastoral" modes due to the constant interruption of modern systems of production and representation. Finally, I explore the reversal of the hierarchical relationship between ignorance and intellect, pathos and logos, which is employed in both works in order to access a more authentic representation of natural existence. "Once at midday in late spring" ("Num meio-dia de fim de primavera") is the eighth of the forty-nine poems that comprise the collection entitled The Keeper of Sheep ("O Guardador de Rebanhos"). In the seventeen stanzas of the poem, the poet adopts a playful tone to describe a dream in which God descends from the cross, taking residence in the poet's house in the form of an "Eternal Child" who finally finds the freedom to criticize God and create mischief in the poet's village. The emphasis on the child's ignorance of worldly affairs, the pleasure he finds in observing nature and his inability to comprehend the poet's "stories about the doings of mankind" ("histórias das cousas só dos homens") 1 provide an example of why Edwin Honig and Susan Brown, authors of the English translation, define The Keeper of Sheep as a "poetic manifesto, proclaiming the unknowable and manifold nature of reality as something

Poklady Orientu : historie a kultura islámu

Sensibility, Self-Control, and Friendship in the Writings of the Princess of Carignano, Caluso and Alfieri

Arts et Savoirs, 2019

Vernon Hyde Minor, Baroque Visual Rhetoric

Forum Italicum: A Journal of Italian Studies, 2017

Dukes, it is surprising that the book ends with the short rule of Piero di Lorenzo de’ Medici in ... more Dukes, it is surprising that the book ends with the short rule of Piero di Lorenzo de’ Medici in 1494. Certainly, the Medici enjoyed far less ambiguity concerning their political standing during the 16th century, but a rich vein of historiography has begun to explore the myriad ways that these later Medici men and women tried to consolidate their power and establish themselves over the political class in and outside Florence. These efforts may have offered another interesting perspective on the book’s themes. In addition, the inclusion of lesser known, but important members of the 15th-century Medici family—Giovanni di’ Bicci, or Cosimo’s son Giovanni, for example—may also have added new insights into the nature and strategies underlyingMedici political power. But these are truly quibbles: this is an essential book for anyone working on the politics and political culture of 15th-century Florence, and it provides much food for thought for scholars now looking at later centuries or lesser-known figures.

Eugenio L Giusti, The Renaissance Courtesan in Words, Letters and Images: Social Amphibology and Moral Framing (A Diachronic Perspective)

Forum Italicum: A Journal of Italian Studies, 2015

elegant speech. Furthermore, he is aligning himself with Boccaccio who asserts, in the Conclusion... more elegant speech. Furthermore, he is aligning himself with Boccaccio who asserts, in the Conclusion of his work, that in writing these tales he has, perhaps, ‘troppa licenza usata,’ but he also quickly adds, ‘per ciò che niuna sı̀ disonesta n’è, che, con onesti vocaboli dicendola, si disdica ad alcuno’; Rebhorn translates this as follows: ‘for there is no story so unseemly that it may not be told, provided it is couched in seemly language, as I think I have done very well here.’ Much like Petrarch, and consistently through his beloved Decameron, Boccaccio reiterates the need to believe he will not be forgotten, while entrusting his immortality to the power of his words. In the same way, Rebhorn is wishing his translation well when he shares with us his belief that Boccaccio’s masterpiece is one of the great works of world literature, ‘even in translation.’ We are as convinced as Elissa B Weaver that Rebhorn’s ‘is a masterful translation,’ and we hope as well that there will soon be a lightweight, paperback edition to facilitate our students’ reading of this wonderful work of literature.

Eugenia Paulicelli, Writing Fashion in Early Modern Italy: From Sprezzatura to Satire

Forum Italicum: A Journal of Italian Studies, 2016

as explored and revealed in the series should be seen as a “parochial and pluralistic American la... more as explored and revealed in the series should be seen as a “parochial and pluralistic American landscape” (85) where identities form and develop under often non-traditional circumstances or conventions and need to be understood within the new American multicultural and “historical contexts.” If Chapter 2 investigates identity in its broader sense, Chapter 3—“God Help the Beast inMe”—appears to be focused on the inner battle—often dark—of the human soul. Tony Soprano, like most of the men in the series, is seen as an individual always interrogating his inner self and in search of satisfaction, balance, and stability, but mostly while trying to understand what it entails to act, feel, and behave like a man. In his remarkable perspective, Ricci emphasizes how often the fragility in these powerful men appears “to undermine their masculinity” and seems to refer to the secular dichotomy of what is perceived as a feminine approach to life in opposition to a more “masculine” nature in acting and reacting. The “disorientation” by men who should be “in charge” puts into jeopardy the very essence of what it means to be a father, a son, a mobster in its archaic essence, and this is apparently resolved through the remarkable narration of the series’ writer David Chase, who literally puts a cigar in the men’s mouth to visualize the probably “only” masculine side still intact. The examination of the series via the character of Tony Soprano continues in Chapter 4, “Two Tonys: Drawing Conclusions from Mediated Mob Images.” Ricci here transforms the journey into a sort of pilgrimage into the domain of the self and the inner struggle between fighting identities: an adult man who keeps struggling to understand “his foibles, to develop strategies to better control his fate,” in Ricci’s words; a man who tries everything to achieve his goal in a duplicity of acts—he is a fighter and a survivor, never a victim, he uses subterfuge and clarity, manipulating realities to conquer a soul stability and fulfill a lacking “wholeness.” In sum, Ricci’s investigation is indeed a “good story told well,” and the book portrays this in a powerful manner while revealing Tony Soprano and his detailed story and history as part of Ricci’s own story. Tony and the entire Soprano family become, through Ricci’s sublime journey, the storytelling of our time, of our anxieties, perplexities, and competitive individualities that make American society the place it is.

Manuela Scarci, Creating Women: Representation, Self-Representation, and Agency in the Renaissance

Forum Italicum: A Journal of Italian Studies, 2014

feuilleton che per una monografia scientifica, Cassamagnaghi ha svolto uno studio accurato e appr... more feuilleton che per una monografia scientifica, Cassamagnaghi ha svolto uno studio accurato e approfondito sulla base di un esteso ventaglio di fonti che comprendono documenti archivistici inediti dell’amministrazione federale statunitense, memorialistica autobiografica, reportage giornalistici e interviste con alcune delle spose di guerra ancora oggi in vita. Il testo si avvale anche dell’analisi di alcune pellicole cinematografiche, dal celeberrimo Paisà (1946) di Roberto Rossellini al poco noto The Search (1948) di Fred Zinnemann, sebbene la fiction – sia essa d’autore omeno – non appaia in grado di fornire elementi per delineare reali esperienze storiche, ma possa al massimo offrire spunti per definire la percezione delle spose italiane di guerra nell’immaginario collettivo oppure l’impiego della loro presenza per fini propagandistici nel clima della nascente guerra fredda. Quest’ultima riflessione è emblematica di come il libro contenga molto più di quanto il titolo prometta. Cassamagnaghi, infatti, si sofferma anche su aspetti collaterali delle vicende al centro della sua narrazione. Tra tali variazioni sul tema risaltano in particolare il fenomeno della prostituzione delle italiane ai militari statunitensi, l’ostracismo sociale subito in Italia dai figli mulatti dei soldati afro-americani e i matrimoni contratti dai prigionieri di guerra italiani, internati negli Stati Uniti, con cittadine americane molto spesso di ascendenza italiana. L’ampiezza della prospettiva adottata è generalmente utile per contestualizzare l’esperienza delle spose di guerra. Talvolta, però, sconfina pure in digressioni superflue, come nel caso delle osservazioni sul casting di The Search o delle pagine dedicate a G.I. War Brides (1946), un film di George Blair ispirato alle loro traversie. Rimane, inoltre, in ombra la dimensione quantitativa dell’analisi. Per esempio, pur avendo a disposizione i dati sulle spose e sui figli di guerra italiani, il lettore cercherebbe invano il numero delle fidanzate giunte negli Stati Uniti grazie al Fiancées Act del giugno del 1946 oppure la cifra di quelle rimpatriate perché non si erano sposate entro il termine dei tre mesi. Nondimeno Cassamagnaghi ha svolto una ricerca significativa, i cui risultati aiutano a fare luce su un tassello poco studiato dell’emigrazione italiana negli Stati Uniti nel secondo dopoguerra.

“Time to Come Out, Girl!”: Queering Italian American Sexuality on TV Land’s Younger

Springer eBooks, 2023

"Playing God: Alberto Caeiro’s 'Num meio-dia de fim de primavera' and Pier Paolo Pasolini’s 'La Ricotta.'" Carte Italiane, 2.10 (2015)

Pier Paolo Pasolini's La Ricotta, one of four episodes of the film RoGoPaG (1963) focuses on a di... more Pier Paolo Pasolini's La Ricotta, one of four episodes of the film RoGoPaG (1963) focuses on a director (played by Orson Welles) shooting a film about the Passion in a remote Italian countryside. Just as Pasolini, through the persona of the Other director (Welles), directs a film that is not his film, so too Fernando Pessoa, a generation earlier, writes a poem that is not his poem through the persona of the Other poet (Caeiro). This article is focused the relationship of the Creator (director, poet, God) to his creatures and, in particular, on the sardonic reimagining of the Passion to reject the institutionalization of artistic and religious creation. In addition to the literal unnailing of Christ from the cross, the bucolic settings of Pasolini's film and Caeiro's poem are disrupted and exploited by modern systems of production and representation. Moreover, while challenging the hierarchical relationship of ignorance and intellect, pathos and logos, the authoritative and the communal, Pasolini and Pessoa articulate their struggle to critique the Church while also attempting to revive pre-historical, pre-Christian figures in an industrialized modern landscape. In so far as both the filmmaker and poet are aware of the polemical nature of their representations of Christ, anticipating eScholarship provides open access, scholarly publishing services to the University of California and delivers a dynamic research platform to scholars worldwide. and attempting to defend themselves against accusations of blasphemy, I attempt to answer the question that both Pasolini and Pessoa seem to pose: Can the creator abandon his assigned role in order to give movement to the still, flexibility to the stable, the gift of ignorance to the educated?