Letteratura straniera saggi e critica

Herausgegeben von Thomas Wisskirchen, Hans Sprecher. Dräger Grundstücksges 1997, cm.16x24, pp.236, brossura copertina figurata.

Buchet-Chastel 2009, cm.14x20,5, pp.270, brossura copertina figurata. Comment vivre aux côtés de pareils génies ? Sylvie Weil, dans ce qui est à la fois un exercice d'admiration et un exorcisme nécessaire, s'en explique avec de l'émotion et de l'humour. " Le génie était bicéphale. Mon père avait un double, un double féminin, un double mort, un double fantôme. Car, oui, en plus d'être une sainte, ma tante était un double de mon père à qui elle ressemblait comme une jumelle. Un double terrifiant pour moi, puisque je lui ressemblais tant. Je ressemblais au double de mon père. " Cette ressemblance physique troublante est le départ d'un récit qui mêle des souvenirs, des réflexions personnelles. Il en résulte une forte présence de ces deux figures intimidantes. Inadaptées l'une comme l'autre au monde réel, témoins et victimes de l'Histoire, elles méritaient d'être enfin réunies à égalité dans un livre juste, accessible, et chaleureux. Sylvie Weil est la fille d'André Weil et la nièce de Simone Weil. Elle a enseigné la littérature française dans plusieurs universités américaines. Ecrivain elle a publié des nouvelles et des romans.

Oxford, At The Clarendon Press 1989, cm.16x24, pp.XVIII,526, legatura editorialec artonata, sopracoperta figurata a colori. At age 28, William Wordsworth had neither a settled income nor the professional qualifications needed to secure one. He had no home, and he could not support the illegitimate child he had fathered during an impetuous love affair in France. The major part of a slim, anonymously issued volume of Lyrical Ballads was all he had to show for the years since he had left Cambridge, and yet he was convinced that he was called to be a major poet. Recognition came slowly, but by age 70 he was revered as a cultural icon, the Poet Laureate of England, and the most celebrated native of the Lake Country, where he was visited by royalty and many of the great poets of his day. Based on an intimate knowledge of the poet's manuscripts, on a fresh look at contemporary records, and a careful analysis of the vast amount of research that has appeared in the last two decades, this vividly written volume is the first serious biography of Wordsworth to appear in over twenty-five years. Stephen Gill, a leading authority on Wordsworth's work, reveals that in many ways this giant of English literature lead a heroic life. Persisting against critical condemnation, numbing blows from the death of friends and family, including three of his own children, and his inability to make enough money from his writings to support himself, his dedication to his art did not waver. Moreover, Gill corrects the image of the older Wordsworth as a stodgy betrayer of his radical youth. While his politics certainly did change, and his poetic power waned, from 1799 almost to his death in 1850, Wordsworth single-mindedly shaped his own life in submission to an imaginative possession whose importance he never doubted. Illustrated with over twenty halftones--including portraits, manuscript pages, and places important to Wordsworth and his family--this is an authoritative account of one of literature's great innovators, a writer who permanently enlarged the range of English poetry, both in subject matter and in treatment, and left a body of work that has enjoyed an enormous and lasting popularity. Providing considerable insight into Wordsworth's poetic achievement, Gill illuminates what was most essential to Wordsworth himself: his life as a writer.

Firenze, Firenze University Press 2010, cm.17,0x24,0 pp.284, brossura copertina figurata a colori. Coll.Biblioteca di Studi Slavistici. La società sovietica è sempre stata caratterizzata da un forte istituto censorio che di fronte al potere della parola scritta ha messo in opera una serie di istituzioni altamente repressive. Ma la censura non necessariamente esercita il suo potere attraverso forme coercitive; ci sono modalità di intervento che si espletano attraverso una complessa rete di istituzioni culturali, in grado di "produrre" la società, espungendo pensieri ed atteggiamenti pericolosi per il sistema ed organizzando al contempo una serie di organismi destinati a forgiare comportamenti e mentalità ortodossi, tanto da rendere spesso quasi inutile la funzione del censore esterno, sostituito dal "censore dell'anima". Il libro qui presentato cerca di evidenziare questo secondo aspetto della censura, senza tuttavia trascurare la grande macchina repressiva messa in atto dal potere sovietico.

London, Duckworth 1977, cm.14x22, pp.XII,226, legatura editoriale cartonata.

Oxford, At the Clarendon Press 2000, cm.16x24, pp.XII,949, legtaura editoriale cartonata, sopracoperta figurata illustrata a colori. In 1880 Nietzche observed that Goethe had been "not just a good and great man, but an entire culture." The author of Faust, of exquisite lyric poetry, and of a bewildering variety of other plays, novels, and poetry as well as treatises on botany and color theory, Goethe also excelled as an administrator in the cabinet of Carl August, Duke of Saxe-Weimar. Now, Nicholas Boyle has written the definitive biography of this extraordinary figure--indeed, The Poet and the Age is the first full-length, original English-language biography of Goethe in sixty years. In this elegant and enjoyable first volume--the first of two projected books--Boyle captures the passions and poetry of the young Goethe, leading us up to the moment when the French Revolution shook the foundations of all of Europe. Boyle contends that, although Goethe was certainly as much a part of German social and political life as he was its cultural nucleus, there was no single "Age of Goethe." Instead, Goethe's life spanned a great divide in European history: half was spent under a monarchy, and half under a middle-class bureaucracy. The first forty years of Goethe's creative life, rendered by Boyle in captivating detail, saw the early conception of Faust, and Goethe's rise to literary fame on the heels of his bestselling sentimental novel The Sorrows of Young Werther, a book which captured the European imagination like no other before it. Werther became a fashion in a strikingly contemporary sense: impassioned readers imitated the clothing, the sentiments, and even the tragic suicide of the novel's young hero. Napoleon claimed to have read Goethe's book seven times, and years later Mary Shelley cited it as the first book read by the monster she created in Frankenstein. Boyle provides not only close and provocative readings of Goethe's literary works, but also a vivid portrayal of a convulsive age of revolution, including insights into Weimar court life, and accounts of other master thinkers like Lessing and Schiller.

Oxford, At the Clarendon Press 1991, cm.16x24, pp.XVI,806, legtaura editoriale cartonata, sopracoperta figurata illustrata a colori. In 1880 Nietzche observed that Goethe had been "not just a good and great man, but an entire culture." The author of Faust, of exquisite lyric poetry, and of a bewildering variety of other plays, novels, and poetry as well as treatises on botany and color theory, Goethe also excelled as an administrator in the cabinet of Carl August, Duke of Saxe-Weimar. Now, Nicholas Boyle has written the definitive biography of this extraordinary figure--indeed, The Poet and the Age is the first full-length, original English-language biography of Goethe in sixty years. In this elegant and enjoyable first volume--the first of two projected books--Boyle captures the passions and poetry of the young Goethe, leading us up to the moment when the French Revolution shook the foundations of all of Europe. Boyle contends that, although Goethe was certainly as much a part of German social and political life as he was its cultural nucleus, there was no single "Age of Goethe." Instead, Goethe's life spanned a great divide in European history: half was spent under a monarchy, and half under a middle-class bureaucracy. The first forty years of Goethe's creative life, rendered by Boyle in captivating detail, saw the early conception of Faust, and Goethe's rise to literary fame on the heels of his bestselling sentimental novel The Sorrows of Young Werther, a book which captured the European imagination like no other before it. Werther became a fashion in a strikingly contemporary sense: impassioned readers imitated the clothing, the sentiments, and even the tragic suicide of the novel's young hero. Napoleon claimed to have read Goethe's book seven times, and years later Mary Shelley cited it as the first book read by the monster she created in Frankenstein. Boyle provides not only close and provocative readings of Goethe's literary works, but also a vivid portrayal of a convulsive age of revolution, including insights into Weimar court life, and accounts of other master thinkers like Lessing and Schiller.

Polygon 2017, cm.14x22, pp.176 ill.bn. legtaura editoriale cartonata, sopracoperta figurata This book is an intimate, fond and funny memoir of one of the greatest novelists of the last century. This colourful, personal, anecdotal, indiscreet and admiring memoir charts the course of Muriel Spark?s life revealing her as she really was. Once, she commented sitting over a glass of chianti at the kitchen table, that she was upset that the academic whom she had appointed her official biographer did not appear to think that she had ever cracked a joke in her life. Alan Taylor here sets the record straight about this and many other things.With sources ranging from notebooks kept from his very first encounter with Muriel and the hundreds of letters they exchanged over the years, this is an invaluable portrait of one of Edinburgh?s premiere novelists. The book will be published to celebrate the 100th anniversary of Muriel?s birth in 2018.

London, Chatto & Windus 1988, cm.17x24, pp.VIII,486, 32 tavole bn.ft. legtaura editroriale cartonata, sopracoperta figurata.

London, Collins Publishers 1941, cm.15x23, pp.296, legatura editoriale in tutta tela.

Weidenfeld and Nicolson 1963, cm.13,5x16,5, pp.562, brossura copertina figurata.

Unica traduzione autorizzata di Giorgio Monicelli. Milano, Mondadori 1956, cm.14x21,5, pp.326, legatura editoriale cartonata.

London, Duckworth 1979, cm.16x24, pp.XVIII,494, legatura editoriale cartonata, sopracoperta.

The first revision of the 1959 classic. Oxford University Press 1983, cm.15,5x23, pp.XV,888, brossura copertina figurata a colori.

Cambridge, At the University Press 1972, cm.14x22, pp.XII,210, legatura editoriale cartonata, sopracoperta.

Papermac 1995, cm.13,5x21,5, pp.XIII,636, brossura copertina figurata a colori.

Stuttgart, Deutsche Verlags Anstalt 1988, cm.13x21, pp.288, legatura editoriale in tutta tela, sopracoperta figurata.

V&R Unipress 2010, cm.16x24, pp.388, with 19 figures. legtaura editoriale cartonata. Coll.Interfacing Science, Literature, and the Humanities,4. Ancient Rome has always been considered a compendium of City and World. In the Renaissance, an era of epistemic fractures, when the clash between the 'new science' (Copernicus, Galileo, Vesalius, Bacon, etcetera) and the authority of ancient texts produced the very notion of modernity, the extended and expanding geography of ancient Rome becomes, for Shakespeare and the Elizabethans, a privileged arena in which to question the nature of bodies and the place they hold in a changing order of the universe. Drawing on the rich scenario provided by Shakespeare's Rome, and adopting an interdisciplinary perspective, the authors of this volume address the way in which the different bodies of the earthly and heavenly spheres are re-mapped in Shakespeare's time and in early modern European culture. More precisely, they investigate the way bodies are fashioned to suit or deconstruct a culturally articulated system of analogies between earth and heaven, microcosm and macrocosm. As a whole, this collection brings to the fore a wide range of issues connected to the Renaissance re-mapping of the world and the human. It should interest not only Shakespeare scholars but all those working on the interaction between sciences and humanities.

Firenze, Firenze University Press 2007, cm.17,0x24,0 pp.298, brossura sopracoperta figurata a colori. Collana Manuali. Umanistica, 8. Alla metà del IX secolo i popoli di una Slavia recentemente cristianizzata entrano nella scrittura e nella storia grazie all'operato di due missionari bizantini, i fratelli tessalonicensi Costantino-Cirillo e Metodio, che, inventato un nuovo alfabeto, osano tradurre testi sacri e liturgici utili al giovane gregge in un vernacolo barbaro promosso a lingua colta e sacra. Di questa vicenda, che ha condizionato profondamente la cultura slava, il presente volume ripercorre le linee, raccontando la genesi, le trasformazioni e la funzione del paleoslavo all'interno della Slavia medievale e fornendone una accurata descrizione fonetica, morfologica e sintattica, corredata di numerosi esempi e di tavole morfologiche.

A cura di Akeel Almarai. Traduzione di M.Giuliani. Pisa, Pacini Editore 2017, cm.14x22, pp.200, br.copertina figurrata a colori. Coll.Primavere Letterarie,2. Pubblicazione dell'Università di Stranieri di Siena. Il patrimonio letterario curdo, nella sua produzione prosastica, e in particolar modo in quella lirica, rappresenta un'eredità culturale di antichissima tradizione. Tuttavia, benché le sue origini affondino in epoche remote, la sua conoscenza da parte del lettore arabo è piuttosto recente e ha potuto aver luogo soltanto grazie alle traduzioni di alcuni scrittori curdi, e anche alla scelta degli stessi di redigere le proprie opere direttamente in arabo. In tale contesto, lo scrittore siro-curdo Jan Dost è sicuramente uno degli intellettuali contemporanei più importanti, che ha permesso al pubblico arabo e internazionale di conoscere alcune delle pagine più belle della letteratura curda.

A cura di Michela Graziani e Salomè Vuelta García. Firenze, Casa Editrice Leo S. Olschki 2023, cm.17x24, pp.114, brossura. Collana Biblioteca dell'Archivum Romanicum,538. I cinque saggi proposti nel presente volume offrono nuove letture per lo studio del canone letterario gesuitico secentesco e settecentesco tra Italia, Spagna e Portogallo da angolature differenti: dalle questioni legate alle strategie educative dei gesuiti, all'interesse piuttosto diffuso per l'esame della produzione teatrale, a spunti di riflessione su fenomeni culturali di ampio respiro, come quelli legati alla questione dell'adattamento e della traduzione.

Milano, Ugo Mursia Ed. 1959, cm.13x20, pp.278, brossura, sopraccoperta figurata a colori. Collana Piccola Sirio,3.

Centro di Drammaturgia e Speriementazione, Scuola Teatro della Provincia di Firenze A cura di Anna Castellani. Regia di Sauro Albisani. Firenze, Edison 2004, cm.14x21, pp.208, brossura copertina figurata a colori.

Genova : Bozzi , stampa 1979 Bozzi Editore 1979, cm.17x24, pp.XVII,260, brossura copertina figurata.