Dante Alighieri, as we understand him and read his poetry, is a construct crafted from posthumous portraiture. Dante’s famous profile appears at a pivotal transition point from icon to image, where the aura of the saint is transferred to the poet. In this aesthetic creation of identity, portraits and visual representations of Dante are influenced by, and in turn influence, commentaries, translations, and biographies of the poet. This visual and textual synergy is called textual physiognomy, and it reaches an important juncture point in the 19th century, when Dante Gabriel Rossetti—as both artist, critic, and translator of Dante—creates a new and influential alternative to the traditional Dantean identity. Rossetti challenges the Dante the 19th century had taken for granted as fact: the divine “poet saturnine,” with “hatchet” profile, aquiline nose, austere face, and laurel crown. Through his iconoclastic approach to the Dantean portraiture tradition, Rossetti gives Dante a new life by emphasizing the human Dante, the pre-exile Dante before the Divine Comedy.

The present study offers strong evidence that the World Wide Web is a unique domain of use that can be categorized as a banalised context based on certain defining criteria. Italian Internet Terminology is worthy of investigation because of its unprecedented extent and rich context of use. The goal of chapter one is to make a case for the utility of a corpus-based study, explain the primary theoretical underpinnings of the study, which I base on the concept of central meaning linked to the compositionality of elements, and give important historical and sociological motivations for such a study . In chapter two, I explain how term are selected and discarded, how my corpus is created, and how it proves suitable and representative of this lexical domain. In the third chapter, I elucidate the classificatory system I employ which allows me to view the lexical items in grammatical context. To gain a better understanding of the conceptual system of the terms studied, I introduce another important analytical framework: qualia structures. In chapter four, the analysis of the morphosyntactic and semantic character of the terminology allows for greater insight into the processes and pattering of denomination of Internet terminology. To conclude this study, I show that Italian Internet terminology is a banalised language governed by a systematic set of morpho-syntactic rules in which Italian selects, uses, and lexicalizes terms based on core units of meaning.

This thesis offers an in-depth analysis of five films (Pane e cioccolata, Queen of Hearts, L’Emmerdeur, Mediterraneo sempre, Raging Bull) which deal with the Italian reality outside of Italy. The segment-by-segment study of these works reveals overlapping themes that define parameters that can be used to define a deterritorialized culture which the author of this study names the Italic culture. The analytical system produced can help scholars and students to understand what constitutes the filmic narrative of ethnic films. The title of the thesis derives from a monologue spoken by Jake LaMotta in Raging Bull by Martin Scorsese, which is a paraphrase of another monologue said by Terry Malloy in On the Waterfront by Elia Kazan. Though the words of the speeches are similar, their meaning is different. What for Malloy was a need for success becomes for LaMotta a criticism of this success. Presented at once as a study of forms and a survey of cultural connotations, this investigation proposes a journey into the representative world created by immigrants and children of immigrants who, by refusing to disappear into sameness, question what it means to be Italian in the world today.

This study seeks to present a philologically accurate and complete edition of Isabella Andreini’s collection of lyric poetry published in 1601. The collection comprises a total of 368 poems: 196 sonnets, 125 madrigals, 6 canzoni, 10 canzonette morali, 2 sestine, 2 epithalamia, 2 centoni, 3 capitoli, 9 scherzi, 4 versi funerali and 9 egloghe boscherecce. The investigation conducted on Andreini’s poems has led us to discover that the variety of metrical structures that make up her collection are perfectly in line with the trends of the century, as confirmed by both Chiabrera’s lyric poetry and the second part of Marino’s Rime. The present study highlights Isabella’s unique poetic personality and her innovative position in literary history. The interpretation of Isabella Andreini’s poetry in the entire thesis revolves around the statement of poetics she makes in the very first poem of the collection. In fact, in her proemial sonnet Andreini declares the non-autobiographical nature of the fervours expressed by her poems, thus declaring that her compositions are simply a poetic exercise. This is made clear further when she states that following her ability as an actress, she wrote in varying style a thousand pages, thus making reference to the variety of styles and metrical schemes she adopted in her poems. Using similar language, she warns the readers of the different narrating voices in the collection, stating that just as on stage she played different parts as woman and others as man, so she did in her poems. It is clear that the special feature of Andreini’s lyrical style is amenable to her talent as an actress, and it was in fact due to her acting skills that she could ably impersonate a man, or conceal the identity of the narrator in her poems, using this ‘invention’ as a key element in her creative process.

This thesis offers an in-depth analysis of five films (Pane e cioccolata, Queen of Hearts, L’Emmerdeur, Mediterraneo sempre, Raging Bull) which deal with the Italian reality outside of Italy. The segment-by-segment study of these works reveals overlapping themes that define parameters that can be used to define a deterritorialized culture which the author of this study names the Italic culture. The analytical system produced can help scholars and students to understand what constitutes the filmic narrative of ethnic films. The title of the thesis derives from a monologue spoken by Jake LaMotta in Raging Bull by Martin Scorsese, which is a paraphrase of another monologue said by Terry Malloy in On the Waterfront by Elia Kazan. Though the words of the speeches are similar, their meaning is different. What for Malloy was a need for success becomes for LaMotta a criticism of this success. Presented at once as a study of forms and a survey of cultural connotations, this investigation proposes a journey into the representative world created by immigrants and children of immigrants who, by refusing to disappear into sameness, question what it means to be Italian in the world today.

The present study offers strong evidence that the World Wide Web is a unique domain of use that can be categorized as a banalised context based on certain defining criteria. Italian Internet Terminology is worthy of investigation because of its unprecedented extent and rich context of use. The goal of chapter one is to make a case for the utility of a corpus-based study, explain the primary theoretical underpinnings of the study, which I base on the concept of central meaning linked to the compositionality of elements, and give important historical and sociological motivations for such a study . In chapter two, I explain how term are selected and discarded, how my corpus is created, and how it proves suitable and representative of this lexical domain. In the third chapter, I elucidate the classificatory system I employ which allows me to view the lexical items in grammatical context. To gain a better understanding of the conceptual system of the terms studied, I introduce another important analytical framework: qualia structures. In chapter four, the analysis of the morphosyntactic and semantic character of the terminology allows for greater insight into the processes and pattering of denomination of Internet terminology. To conclude this study, I show that Italian Internet terminology is a banalised language governed by a systematic set of morpho-syntactic rules in which Italian selects, uses, and lexicalizes terms based on core units of meaning.

In the sixteenth century, because of the prosperous environment of commerce, the parpularity of printing was obvious. Moreover, the technique of the music printing was changed from multiple printing to one impression, and it made the music scores cheaper. The Italian madrigal of Florence and Rome were disseminated to Venice . A large number of madrigals printed in Venice. The main part of the thesis discuss the circumstances of publishing madrigal in Venice. The interaction among composer, assistance, patrons and the purchaser. The thesis consist of three main chapters, in addition to the introduction and conclusion. Chapter one exams the society and economic background, the music in relation to environment. The develop of printing industry and the transfermance of music printing technique in the sixteen century Venice will be explore as well. Chapter two focus on the process of madrigal expanded from Florence and Rome to Venice which is based on the informantion early madrigal manuscripts and a few printed score. Chapter three deal with the influences of the madrigal in the music publishing industry. The main contents focus on two music printing families who monopolized music publishing market in Venice, discussing the process of their madrigal score printing and locating the works. In addition the study will further discuss the business skill they used for selling madrigal, the customers who was willing to buy madrigal score and the route the printers selling the madrigal works, in order to demonstrate the importance of music printing to the prevalence of Italian madrigals.

Thesis (Ph. D.)--University of Chicago, Dept. of Romance Languages and Literatures, 2002. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--University of Oregon, 2001. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 314-327). Also available for download via the World Wide Web; free to University of Oregon users.

Diss.--Bern. / Vita. Includes bibliographical references.