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| sciascia a ciascuno il suo: To Each His Own Leonardo Sciascia, 1992 This is a short, powerful novel dealing with the complicities and accomodations of power within Italian politics. |
| sciascia a ciascuno il suo: A Man's Blessing Leonardo Sciascia, 1968 A novel set in Scicily. The anonymous letter arrived in the afternoon mail. The message, spelled out in words that had been cut from a newspaper, read: This letter is your death sentence. To avenge what you have done, you will die. |
| sciascia a ciascuno il suo: A ciascuno il suo Leonardo Sciascia, 2012-02-22T00:00:00+01:00 Il romanzo dell’oscura, crudele Sicilia. Il dramma di un investigatore lucido che, quanto più indagava, tanto più «nell’equivoco, nell’ambiguità, moralmente e sensualmente si sentiva coinvolto». |
| sciascia a ciascuno il suo: Encyclopedia of Italian Literary Studies: A-J Gaetana Marrone, 2007 Publisher description |
| sciascia a ciascuno il suo: Twentieth-century Italian Literature in English Translation Robin Healey, 1998-01-01 This bibliography lists English-language translations of twentieth-century Italian literature published chiefly in book form between 1929 and 1997, encompassing fiction, poetry, plays, screenplays, librettos, journals and diaries, and correspondence. |
| sciascia a ciascuno il suo: The Novel as Investigation JoAnn Cannon, 2006-01-01 Detective fiction is a universally popular genre; stories about the investigation of a crime by a detective are published all over the world and in hundreds of languages. Detective fiction provides more than entertainment, however; it often has a great deal to say about crime and punishment, justice and injustice, testimony and judgment. The Novel as Investigation examines a group of detective novels by three important Italian writers - Leonardo Sciascia, Dacia Maraini, and Antonio Tabucchi - whose conviction about the ethical responsibility of the writer manifests itself in their investigative fiction. Jo-Ann Cannon explores each writer's denunciation of societal ills in two complementary texts. These investigative novels shed light on pressing social ills, which are not particular to Italian society of the late twentieth century but are universal in scope: Sciascia focuses on abuses of power and the death penalty, Maraini on violence against women, Tabucchi on torture and police brutality. In addition, each of these texts self-reflexively explore the role of writing in society. Sciascia, Maraini, and Tabucchi all use their fiction to defend the power of the pen to address il male del mondo. The Novel as Investigation will be of interest to a broad audience of readers, including those interested in Italian and comparative literature, Italian social history, and cultural studies. |
| sciascia a ciascuno il suo: Mafia Vendetta Leonardo Sciascia, 1964 In Italian cultural and political discussions, the problem of the South occurs as frequently as it does in America, though with quite a different meaning. Inevitably, such discussions must include Sicily, the island that gave to the languages of the world the two words which form the American title of Leonardo Sciascia's novella, along with that nearly untranslatable word omertd. The Italian South (and, especially, Sicily) means crime and violence and the corruption of public justice by a secret organization which cannot even be proved to exist -- since the code of omerto (which means, literally, connivance) binds even the innocent to what Signor Sciascia calls the conspiracy of silence. Americans were familiar with the impact of Sicily upon our own crime and justice long before last fall's news stories on the Cosa Nostra -- but when this little book appeared in ItaIy, it created a public sensation, even though the author's afterword describes the care with which he tried to conform |
| sciascia a ciascuno il suo: Methods of Murder Elena Past, 2012-01-01 Past traces the roots of the twentieth-century literature and cinema of crime to two much earlier, diverging interpretations of the criminal: the bodiless figure of Cesare Beccaria's Enlightenment-era On Crimes and Punishments, and the biological offender of Cesare Lombroso's positivist Criminal Man |
| sciascia a ciascuno il suo: A Simple Story Leonardo Sciascia, |
| sciascia a ciascuno il suo: Sicilian Uncles Leonardo Sciascia, 2014-01 The four novellas in this text show illusions being lost and ideas betrayed amid war and revolution. Each one has its own historical moment: the Allied invasion of Sicily, the Spanish Civil War, the death of Stalin and the revolution of 1848. |
| sciascia a ciascuno il suo: , |
| sciascia a ciascuno il suo: Investigating Identities Marieke Krajenbrink, Kate M. Quinn, 2009 Investigating Identities: Questions of Identity in Contemporary International Crime Fiction is one of the relatively few books to date which adopts a comparative approach to the study of the genre. This collection of twenty essays by international scholars, examining crime fiction production from over a dozen countries, confirms that a comparative approach can both shed light on processes of adaptation and appropriation of the genre within specific national, regional or local contexts, and also uncover similarities between the works of authors from very different areas. Contributors explore discourse concerning national and historical memory, language, race, ethnicity, culture and gender, and examine how identity is affirmed and challenged in the crime genre today. They reveal a growing tendency towards hybridization and postmodern experimentation, and increasing engagement with philosophical enquiry into the epistemological dimensions of investigation. Throughout, the notion of stable identities is subject to scrutiny. While each essay in itself is a valuable addition to existing criticism on the genre, all the chapters mutually inform and complement each other in fascinating and often unexpected ways. This volume makes an important contribution to the growing field of crime fiction studies and to ongoing debates on questions of identity. It will therefore be of special interest to students and scholars of the crime genre, identity studies and comparative literature. It will also appeal to all who enjoy reading contemporary crime fiction. |
| sciascia a ciascuno il suo: Inquisition and Inquiry Anne Mullen, 2000 This study focuses on the narrative form which figured prominently in Sciascia's literary production in the 1970s and 1980s, that is, inchiesta, the non-fiction investigative essay, based principally on Manzoni's Storia della colonna infame [The Column of Infamy]. In his inchieste Sciascia investigates episodes in history, from the time of the Inquisition through to his own contemporary times, where intolerance and injustice outmatch human weakness and fear. This study considers Sciascia's commingling of detective and investigative writing, and his attempts at historiography. One striking feature of his narrative technique is his reliance on literature to interpret the past. |
| sciascia a ciascuno il suo: Hafez in Love Iraj Pezeshkzad, 2021-05-31 Shams al-Din Mohammad Hafez is in love. He is in love with a girl, with a city, and with Persian poetry. Despite his enmity with the new and dangerous city leader, the jealousy of his fellow court poets, and the competition for his beloved, Iran’s favorite poet remains unbothered. When his wit and charm are not enough to keep him safe in Shiraz, his friends conspire to keep him out of trouble. But their schemes are unsuccessful. Nothing will chase Hafez from this city of wine and roses. In Pezeshkzad’s fictional account, Hafez’s life in fourteenth-century Shiraz is a mix of peril and humor. Set in a city that is at once beautiful and cutthroat, the novel includes a cast of historical figures to illuminate this elusive poet of the Persian literary tradition. Shabani-Jadidi and Higgins’s translation brings the beloved poetry of Hafez alive for an English audience and reacquaints readers with the comic wit and original storytelling of Pezeshkzad. |
| sciascia a ciascuno il suo: Sicily as Metaphor Leonardo Sciascia, Marcelle Padovani, 1994-01-01 Some time ago a critic writing in the Times Literary Supplement noted that Sciascia's style shows how strongly, how single-mindedly and intelligently he has reacted against the candyfloss fluffiness of so much around him. What he has to say is compressed so tightly that his writing is rock hard, sometimes dry; in contrast to the almost crazy carelessness in the use of words so often found in Italy, his words are picked so exactly that they form mosaics of their own, precise patterns of emotional or intellectual meaning beyond the precise sense of what they seem to be saying.--Jacket. |
| sciascia a ciascuno il suo: The Doomed Detective Stefano Tani, 1984 Tani's dissertation is the most stunningly original and intelligent I have encountered in 25years of teaching, wrote the late novelist John Gardner. Tani's argument says that the mystery story as written by Hammett and others and touted by the French existentialists led to a new kind of novel and the old-style mystery, as written by, for example, Agatha Christie, seemed a literary dead end--a conservative if not reactionary game. In recent years, Tani shows, the seeming dead end has led to the most important literary movement now visible: the ironic intellectual fiction of people ranging from Borges and Barth to Calvino, and he proves that the spearhead of this movement is Italian fiction as influenced by American mystery fiction. At first glance, the argument seems outrageous. The brilliance of Tani's thesis--besides the original outrageous idea--is that he solidly and systematically makes his case. |
| sciascia a ciascuno il suo: Split Intransitivity in Italian Delia Bentley, 2011-07-13 Split intransitivity has received a great deal of attention in theoretical linguistics since the formulation of the Unaccusative Hypothesis by David Perlmutter (1978). This book provides an in-depth investigation of split intransitivity as it occurs in Italian. The principal proposal is that the manifestations of split intransitivity in Italian, whilst being variously constrained by well-formedness conditions on the encoding of information structure, primarily derive from the tension between accusative (syntactic) and active (semantic) alignment. In contrast to approaches which consider the selection of the perfective operator to be the primary diagnostic of unaccusative or unergative syntax, this study identifies two morphosemantic domains in intransitive constructions on the basis of the analysis of a cluster of related phenomena (including agreement, argument suppression, ne -cliticization, past-participle behaviour, the morphosyntax of experiencer predicates and word order, as well as the selection of the perfective operator). Analysing the degree to which semantic, syntactic and discourse factors interact in determining each manifestation of split intransitivity, this work captures successfully the mismatches in the scope of the various diagnostics. Drawing upon insights provided by Role and Reference Grammar, and relying on corpus-based evidence and crossdialectal comparison, this study makes new empirical and theoretical contributions to the debate on split intransitivity. The book is accessible to linguists of all theoretical persuasions and will make stimulating reading for researchers and scholars in Italian and Romance linguistics, typology and theoretical linguistics. |
| sciascia a ciascuno il suo: Politics and Society in Italian Crime Fiction Barbara Pezzotti, 2014-01-23 This book comprehensively covers the history of Italian crime fiction from its origins to the present. Using the concept of moral rebellion, the author examines the ways in which Italian crime fiction has articulated the country's social and political changes. The book concentrates on such writers as Augusto de Angelis (1888-1944), Giorgio Scerbanenco (1911-1969), Leonardo Sciascia (1921-1989), Andrea Camilleri (b. 1925), Loriano Macchiavelli (b. 1934), Massimo Carlotto (b. 1956), and Marcello Fois (b. 1960). Through the analysis of writers belonging to differing crucial periods of Italy's history, this work reveals the many ways in which authors exploit the genre to reflect social transformation and dysfunction. |
| sciascia a ciascuno il suo: The Shadow of the Precursor Nena Bierbaum, 2011-10-18 A shadow, in its most literal sense, is the projection of a silhouette against a surface and the obstruction of direct light from hitting that surface. For writers and artists, the shadows cast by their precursors can be either a welcome influence, one consciously evoked in textual production via homage or bricolage, or can manifest as an intrusive, haunting, prohibitive presence, one which threatens to engulf the successor. Many writers and artists are affected by an anxious and ambiguous relationship with their precursors, while others are energised by this relationship. The role that intertextuality plays in creative production invites interrogation, and this publication explores a range of conscious and unconscious influences informing relations between texts and contexts, between predecessors and successors. The chapters revolve around intertextual influence, ranging from conscious imitation and intentional allusion to Julia Kristeva’s idea of intertextuality. Do all texts contain references to and even quotations from other texts? Do such references help shape how we read? This multidisciplinary work includes chapters on the long shadows cast by Shakespeare, Dante, Scott, Virgil and Ovid, the shadows of colonial precursors on postcolonial successors, the shadows cast over Kipling and Murdoch, and chapters on other writers, dramatists and filmmakers and their relationships with precursor figures. With its focus on intertextual relationships, this book contributes to the thriving fields of adaptation studies and studies of intertextuality. |
| sciascia a ciascuno il suo: Italian Giallo in Film and Television Roberto Curti, 2022-06-02 Since the release in 1929 of a popular book series with bright yellow covers, the Italian word giallo (yellow) has come to define a whole spectrum of mystery and detective fiction and films. Although most English speakers associate the term giallo with the violent and erotic thrillers popular in the 1960s and 1970s from directors like Mario Bava, Dario Argento, Lucio Fulci and others, the term encompasses a wide range of Italian media such as mysteries, thrillers and detective stories--even comedies and political pamphlets. As films like Blood and Black Lace (1964) and Deep Red (1975) have received international acclaim, giallo is a fluid and dynamic genre that has evolved throughout the decades. This book examines the many facets of the giallo genre --narrative, style, themes, and influences. It explores Italian films, made-for-TV films and miniseries from the dawn of sound cinema to the present, discussing their impact on society, culture and mores. |
| sciascia a ciascuno il suo: Leonardo Sciascia's French Authors Ian R. Morrison, 2009 Sciascia frequently alludes to French authors, and is often taken to have a close relationship with French literature in general. However, academic critics have never given this important relationship comprehensive and detailed examination. This book focuses on the most relevant French writers. For the majority, attention falls on two complementary areas: the opinions that Sciascia expresses about the writer in his essays; and intertextual allusions to the writer in Sciascia's fiction. These allusions often shift the meaning of the host text or markedly increase its impact. This book works on the assumption that, in order to analyse these effects fully, a careful reading of the relevant French texts is needed. This exploration leads to a reappraisal of Sciascia's relations both with particular French authors and also with French literature generally. |
| sciascia a ciascuno il suo: Great Italian Short Stories of the Twentieth Century / I grandi racconti italiani del Novecento: A Dual-Language Book Jacob Blakesley, 2013-09-19 This anthology highlights the rich range of modern Italian fiction, presenting the first English translations of works by many famous authors. Contents include fables and stories by Italo Calvino, Elsa Morante, Alberto Moravia, and Cesare Pavese; historical fiction by Leonardo Sciascia and Mario Rigoni Stern; and little-known tales by Luigi Pirandello and Carlo Emilio Gadda. No further apparatus or reference is necessary for this self-contained text. Appropriate for high school and college courses as well as for self-study, this volume will prove a fine companion for teachers and intermediate-level students of Italian language and literature as well as readers wishing to brush up on their language skills. Dover (2013) original publication. See every Dover book in print at www.doverpublications.com |
| sciascia a ciascuno il suo: ANNO 2020 LA CULTURA ED I MEDIA SECONDA PARTE ANTONIO GIANGRANDE, Rappresentare con verità storica, anche scomoda ai potenti di turno, la realtà contemporanea, rapportandola al passato e proiettandola al futuro. Per non reiterare vecchi errori. Perché la massa dimentica o non conosce. Denuncio i difetti e caldeggio i pregi italici. Perché non abbiamo orgoglio e dignità per migliorarci e perché non sappiamo apprezzare, tutelare e promuovere quello che abbiamo ereditato dai nostri avi. Insomma, siamo bravi a farci del male e qualcuno deve pur essere diverso! |
| sciascia a ciascuno il suo: COMUNISTI E POST COMUNISTI PARTE SECONDA SE LI CONOSCI LI EVITI ANTONIO GIANGRANDE, E’ comodo definirsi scrittori da parte di chi non ha arte né parte. I letterati, che non siano poeti, cioè scrittori stringati, si dividono in narratori e saggisti. E’ facile scrivere “C’era una volta….” e parlare di cazzate con nomi di fantasia. In questo modo il successo è assicurato e non hai rompiballe che si sentono diffamati e che ti querelano e che, spesso, sono gli stessi che ti condannano. Meno facile è essere saggisti e scrivere “C’è adesso….” e parlare di cose reali con nomi e cognomi. Impossibile poi è essere saggisti e scrivere delle malefatte dei magistrati e del Potere in generale, che per logica ti perseguitano per farti cessare di scrivere. Devastante è farlo senza essere di sinistra. Quando si parla di veri scrittori ci si ricordi di Dante Alighieri e della fine che fece il primo saggista mondiale. Le vittime, vere o presunte, di soprusi, parlano solo di loro, inascoltati, pretendendo aiuto. Io da vittima non racconto di me e delle mie traversie. Ascoltato e seguito, parlo degli altri, vittime o carnefici, che l’aiuto cercato non lo concederanno mai. “Chi non conosce la verità è uno sciocco, ma chi, conoscendola, la chiama bugia, è un delinquente”. Aforisma di Bertolt Brecht. Bene. Tante verità soggettive e tante omertà son tasselli che la mente corrompono. Io le cerco, le filtro e nei miei libri compongo il puzzle, svelando l’immagine che dimostra la verità oggettiva censurata da interessi economici ed ideologie vetuste e criminali. Rappresentare con verità storica, anche scomoda ai potenti di turno, la realtà contemporanea, rapportandola al passato e proiettandola al futuro. Per non reiterare vecchi errori. Perché la massa dimentica o non conosce. Denuncio i difetti e caldeggio i pregi italici. Perché non abbiamo orgoglio e dignità per migliorarci e perché non sappiamo apprezzare, tutelare e promuovere quello che abbiamo ereditato dai nostri avi. Insomma, siamo bravi a farci del male e qualcuno deve pur essere diverso! |
| sciascia a ciascuno il suo: Film and Literature , 1988 |
| sciascia a ciascuno il suo: IL COMUNISTA BENITO MUSSOLINI ANTONIO GIANGRANDE, 2020-07-30 E’ comodo definirsi scrittori da parte di chi non ha arte né parte. I letterati, che non siano poeti, cioè scrittori stringati, si dividono in narratori e saggisti. E’ facile scrivere “C’era una volta….” e parlare di cazzate con nomi di fantasia. In questo modo il successo è assicurato e non hai rompiballe che si sentono diffamati e che ti querelano e che, spesso, sono gli stessi che ti condannano. Meno facile è essere saggisti e scrivere “C’è adesso….” e parlare di cose reali con nomi e cognomi. Impossibile poi è essere saggisti e scrivere delle malefatte dei magistrati e del Potere in generale, che per logica ti perseguitano per farti cessare di scrivere. Devastante è farlo senza essere di sinistra. Quando si parla di veri scrittori ci si ricordi di Dante Alighieri e della fine che fece il primo saggista mondiale. Le vittime, vere o presunte, di soprusi, parlano solo di loro, inascoltati, pretendendo aiuto. Io da vittima non racconto di me e delle mie traversie. Ascoltato e seguito, parlo degli altri, vittime o carnefici, che l’aiuto cercato non lo concederanno mai. “Chi non conosce la verità è uno sciocco, ma chi, conoscendola, la chiama bugia, è un delinquente”. Aforisma di Bertolt Brecht. Bene. Tante verità soggettive e tante omertà son tasselli che la mente corrompono. Io le cerco, le filtro e nei miei libri compongo il puzzle, svelando l’immagine che dimostra la verità oggettiva censurata da interessi economici ed ideologie vetuste e criminali. Rappresentare con verità storica, anche scomoda ai potenti di turno, la realtà contemporanea, rapportandola al passato e proiettandola al futuro. Per non reiterare vecchi errori. Perché la massa dimentica o non conosce. Denuncio i difetti e caldeggio i pregi italici. Perché non abbiamo orgoglio e dignità per migliorarci e perché non sappiamo apprezzare, tutelare e promuovere quello che abbiamo ereditato dai nostri avi. Insomma, siamo bravi a farci del male e qualcuno deve pur essere diverso! |
| sciascia a ciascuno il suo: Elio Petri Roberto Curti, 2021-07-06 Elio Petri (1929-1982) was one of the most commercially successful and critically revered Italian directors ever. A cultured intellectual and a politically committed filmmaker, Petri made award-winning movies that touched controversial social, religious, and political themes, such as the Mafia in We Still Kill the Old Way (1967), police brutality in Investigation of a Citizen Above Suspicion (1970), and workers' struggles in Lulu the Tool (1971). His work also explored genre in a thought-provoking and refreshing manner with a taste for irony and the grotesque: among his best works are the science fiction satire The 10th Victim (1965), the ghost story A Quiet Place in the Country (1968), and the grotesque giallo Todo modo (1976). This book examines Elio Petri's life and career, and places his work within the social and political context of postwar Italian culture, politics, and cinema. It includes a detailed production history and critical analysis of each of his films, plenty of never-before-seen bits of information recovered from the Italian ministerial archives, and an in-depth discussion of the director's unfilmed projects. |
| sciascia a ciascuno il suo: Dal romanzo al set Vito Attolini, 1988 |
| sciascia a ciascuno il suo: The Sicilian Triangle John A. Rallo, 2003-09-15 The Sicilian Triangle is the labor of love of an octogenarian, who reminisces over his native land—that oft-maligned “Island of the Sun.” He is captivated by the charm of its cities, the warmth of its people and the numerous archaeological wonders. The Sicilian Triangle – enriched by photographs – highlights the contributions made by the different civilizations to the island over the centuries: Greek, Carthaginian, Roman, Byzantine, Arab, Spanish, French and other foreign invaders. “The land was occupied,” the author states, “but not the unconquerable spirit of its people, who learned to endure, sustained through the centuries by cultures that have taught them how to survive through pain, patience and suffering. |
| sciascia a ciascuno il suo: The Mafia in Italian Lives and Literature Robin Pickering-Iazzi, 2015-01-01 Pickering-Iazzi uses an array of cultural documents from 1990 to the present to examine the myths, values, codes of behaviour, and relationships produced by the Italian mafia through a wide cross-disciplinary lens. |
| sciascia a ciascuno il suo: Italian Literature since 1900 in English Translation 1929-2016 Robin Healey, 2019-03-07 Providing the most complete record possible of texts by Italian writers active after 1900, this annotated bibliography covers over 4,800 distinct editions of writings by some 1,700 Italian authors. Many entries are accompanied by useful notes that provide information on the authors, works, translators, and the reception of the translations. This book includes the works of Pirandello, Calvino, Eco, and more recently, Andrea Camilleri and Valerio Manfredi. Together with Robin Healey's Italian Literature before 1900 in English Translation, also published by University of Toronto Press in 2011, this volume makes comprehensive information on translations from Italian accessible for schools, libraries, and those interested in comparative literature. |
| sciascia a ciascuno il suo: ANNO 2021 LA CULTURA ED I MEDIA QUARTA PARTE ANTONIO GIANGRANDE, Antonio Giangrande, orgoglioso di essere diverso. ODIO OSTENTAZIONE ED IMPOSIZIONE. Si nasce senza volerlo. Si muore senza volerlo. Si vive una vita di prese per il culo. Noi siamo quello che altri hanno voluto che diventassimo. Facciamo in modo che diventiamo quello che noi avremmo (rafforzativo di saremmo) voluto diventare. Rappresentare con verità storica, anche scomoda ai potenti di turno, la realtà contemporanea, rapportandola al passato e proiettandola al futuro. Per non reiterare vecchi errori. Perché la massa dimentica o non conosce. Denuncio i difetti e caldeggio i pregi italici. Perché non abbiamo orgoglio e dignità per migliorarci e perché non sappiamo apprezzare, tutelare e promuovere quello che abbiamo ereditato dai nostri avi. Insomma, siamo bravi a farci del male e qualcuno deve pur essere diverso! |
| sciascia a ciascuno il suo: The Sixties Arthur Marwick, 2011-09-28 If the World Wars defined the first half of the twentieth century, the sixties defined the second half, acting as the pivot on which modern times have turned. From popular music to individual liberties, the tastes and convictions of the Western world are indelibly stamped with the impact of this tumultuous decade. Framing the sixties as a period stretching from 1958 to 1974, Arthur Marwick argues that this long decade ushered in nothing less than a cultural revolution – one that raged most clearly in the United States, Britain, France, and Italy. Marwick recaptures the events and movements that shaped life as we know it: the rise of a youth subculture across the West; the sit-ins and marches of the civil rights movement; Britain's surprising rise to leadership in fashion and music; the emerging storm over Vietnam; the Paris student uprising of 1968; the growing force of feminism, and much more. For some, it was a golden age of liberation and political progress; for others, an era in which depravity was celebrated, and the secure moral and social framework subverted. The sixties was no short-term era of ecstasy and excess. On the contrary, the decade set the cultural and social agenda for the rest of the century, and left deep divisions still felt today. |
| sciascia a ciascuno il suo: Postmodernism and the Contemporary Novel Bran Nicol, 2002 Collects together the most important contributions to the theory of the postmodern novel over the last 40 years, guiding readers through the complex questions and wide-ranging debates. |
| sciascia a ciascuno il suo: Inventing Homer Barbara Graziosi, 2002-04-25 Explores the ancient reception of the Homeric poems and its relation to modern approaches. |
| sciascia a ciascuno il suo: The Politics of Opera in Post-War Venice Harriet Boyd-Bennett, 2018-09-13 Focusing on opera and modernism in postwar Venice, Boyd-Bennett challenges assumptions about music in the twentieth century. |
| sciascia a ciascuno il suo: Italy's 'Southern Question' Jane Schneider, 2020-05-31 The ‘Southern Question' has been a major topic in Italian political, economic and cultural life for a century and more. During the Cold War, it was the justification for heavy government intervention. In contemporary Italy, a major part of the appeal of the Lombard League has been its promise to dissociate the South from the North, even to the point of secession. The South also remains a resonant theme in Italian literature. This interdisciplinary book endeavours to answer the following: - When did people begin to think of the South as a problem? - Who - intellectuals, statisticians, criminologists, political exiles, novelists (among them some important southerners) - contributed to the discourse about the South and why? - Did their view of the South correspond to any sort of reality? - What was glossed over or ignored in the generalized vision of the South as problematic? - What consequences has the ‘Question' had in controlling the imaginations and actions of intellectuals and those with political and other forms of power? - What alternative formulations might people create and live by if they were able to escape from the control of the ‘Question' and to imagine the political, economic and cultural differences within Italy in some other way? This timely book reveals how Southern Italians have been affected by distorted versions of a complex reality similar to the discourse of ‘Orientalism'. In situating the devaluation of Southern Italian culture in relation to the recent emergence of ‘anti-mafia' ideology in the South and the threat posed to national unity by the Lombard League, it also illuminates the world's stiff inter-regional competition for investment capital. |
| sciascia a ciascuno il suo: Encyclopedia of Italian Literary Studies Gaetana Marrone, Paolo Puppa, 2006-12-26 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. |
| sciascia a ciascuno il suo: States of danger and deceit Rachel Hayward, Ellen Smith, Andy Willis, 2024-05-28 States of danger and deceit places key films (Z (1969), The Mattei Affair (1972), State of Siege (1972), The Lost Honour of Katharina Blum (1975), Illustrious Corpses (1976)) and filmmakers (Costa-Gavras, Elio Petri, Francesco Rosi, Volker Schlöndorff) from across Europe into their historical, political and social contexts before considering the ways they have impacted upon politically engaged filmmakers since. Presented in a dossier format, made up of shorter engaging pieces, this volume offers a series of contextualisations and detailed explorations of significant examples of the political thriller from across Europe. |
| sciascia a ciascuno il suo: Manuale per i test di cultura generale. Per le prove a test di: concorsi pubblici, concorsi dell'Unione Europea, concorsi militari, ammissione all'università Fausto Lanzoni, 2005 |
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2 days ago · [开封市] 开封新区妇幼保健院新院区和社区卫生服务中心合建项目净化工程-第一标段招标公告 2025-07-01 [开封市] 开封新区妇幼保健院新院区和社区卫生服务中心合建项目净化 …
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Jun 24, 2025 · 开封市生态环境局杞县分局2023年省级农村环境整治项目-第二标段定标候选人公示 2025-04-10 开封市生态环境局杞县分局2023年省级农村环境整治项目-第一标段定标候选人公 …
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开封市公共资源交易中心为我市进行公共资源交易的有形市场和统一服务平台，为建设工程招投标、政府采购、土地交易、产权交易等各类公共资源交易活动服务，具体包括：
Walmart recalls 850,000 Ozark Trail water bottles due to injury …
22 hours ago · Walmart is recalling about 850,000 Ozark Trail 64-ounce stainless steel water bottles due to a hazardous lid that can eject forcefully, causing serious injuries.
Walmart Recalls Ozark Trail 64 oz Water Bottles Due to Serious …
1 day ago · Consumers should immediately stop using the recalled water bottles and contact Walmart for a full refund. Consumers can bring the bottle to their nearest Walmart store for a …
Walmart recalls 850,000 water bottles because of blinding risk
20 hours ago · Walmart has recalled about 850,000 Ozark Trail 64-ounce stainless steel insulated water bottles because of the possibility of the lid forcefully ejecting and posing serious injury …
Serious Hazard Prompts Recall of 850K Walmart Water Bottles
20 hours ago · Walmart is recalling roughly 850,000 water bottles from a popular brand due to a potentially dangerous situation in which the lid can forcefully eject from the bottle. The brand in …
Walmart recalls 850,000 water bottles after two customers …
14 hours ago · Walmart recalls 850,000 water bottles after two customers suffer ‘permanent blindness’ from exploding caps The Consumer Product Safety Commission has received three …
Walmart Just Recalled 850,000 Water Bottles Nationwide
23 hours ago · On Thursday, the U.S. Consumer Product Safety Commission (CPSC) reported that around 850,000 Ozark Trail stainless steel insulated water bottles, in the 64-ounce size, …
Walmart recalls around 850K popular water bottles sold …
1 hour ago · According to the Consumer Product Safety Commission (CPSC), Walmart has issued a recall for approximately 850,000 Ozark Trail 64 oz Stainless Steel Insulated Water …
Walmart recalls 850,000 water bottles over impact and …
Walmart is recalling roughly 850,000 water bottles after a problem with the lid caused two people to suffer permanent vision loss and another to sustain injuries.
Walmart recalls Ozark stainless steel water bottles after reports …
14 hours ago · Walmart recalls Ozark water bottles after two people blinded by cap popping off The estimated 850,000 water bottles were sold at Walmart stores nationwide and online since …
Walmart Issues Nationwide Recall on 850,000 Water Bottles …
13 hours ago · Walmart has issued a recall on 850,000 water bottles after three reports of injuries and two customers blinded. Owners should stop using the product immediately.
