Appreciation to Patrizia Cavalli by Bergamin, M.

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“My poems are breath.” Patrizia Cavalli (April 17, 1947 — June 21, 2022). About how once the magic of cinema gave the world one of the best poets in Italy by Kurash, A. P.

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Dante in African American Literature

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Dante as a Hidden Reason for Dispute: to the Issue of the Conflict between I.A. Goncharov and I.S. Turgenev

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The «cognitive wound» and the challenge of witnessing. War and mass media in Italian poetry during the 1990s by Germana Dragonieri

“…The aim of this comparison is to highlight the opportunities for poetry to counter the inauthenticity of the mediatic language and to redeem the Italian poet from its passivity towards the violence of history.…”
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Quali musiche suonò Hölderlin? (28 aprile 1966). A cura di Giovanna Cordibella by Giorgio Vigolo

“…(Which Pieces of Music Did Hölderlin Play?), which the Italian poet held in Rome on April 28th 1966, here edited for the first time, with notes, by Giovanna Cordibella.…”
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La sperimentazione di Belli, la verità di Maggi, la teoresi di Dante by Diego Poli

“…Gioachino Belli’s “Introduction” to his poems offers an intriguing example how Dante’s linguistic approach to the poetical matter can affect a XIX century Italian poet. The relation between the “Introduction” and “De vulgari eloquentia” is here detected on the base of parallelisms within a shared interpretation of the sharp opposition affecting language skills acquired in a natural way or a language achievement assumed in the school environment.   …”
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Images écrites – images peintes. Intermédialité selon Dante : Divine Comédie, Inf. XVII by Winfried Wehle

“…The ‘verbal images’ and the particularly imaginative visions designed by the Italian poet have resulted in a kind of iconic commentary on the Divine Comedy from the 14th century to the present. …”
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Dal ‘grande scrittore’ al ‘generale imperialista’ by YANG, YI

“…Through the analysis of the social-historical context and Chinese literary field during that time, this paper explores the reasons for the initial acceptance of d’Annunzio by the Left-Wing group and for their change of attitude toward the Italian poet. …”
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A good old text always is a blank for new things. L’Inferno televisivo di Peter Greenaway e Tom Phillips by Giulia Govi

“…Taking inspiration from Phillips’ formerly work of Inferno’s illustration and translation (1983), Greenaway unfolds, through video, the metaliterature polysemy of the Italian poet. The essay reflects on Greenaway’s innovative pluricodical paraphrase of Dante’s hell. …”
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Il Sé e l’Altro by Irene De Angelis, Carmen Concilio

“…Similarly, the second case study analyses a selection of poems by the Northern Irish writer Derek Mahon, which show his concern for both material and human waste, through a parallel with the Italian poet and film director Pier Paolo Pasolini. Offering some critical tools which combine literary analysis with anthropology and sociology, we will show how to organize a teaching module to training the younger generations to diversity as a source of mutual relational inclusion. …”
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The Literature of Italy in Byron's Poems of 1817-20 by Halmi, N

“…It begins by exploring the ways in which Byron ‘exploited both the writings and the figures of Italian writers (especially the exiled Dante and imprisoned Tasso) to construct his own cosmopolitan poetic identity’, reinventing himself as simultaneously – and ambiguously – an English and an Italian poet. In the translation of Pulci, however, Byron stresses his foreignness to both British and Italian poetic traditions, cutting a cosmopolitan figure not through identity but difference. …”

From Warsaw to Warsaw. Some remarks on the two ‘imaginary translations’ from Polish (1944) by Franco Fortini by Giovanna Tomassucci

“…The poet defined them Imaginary Translations, because he conceived them as translated from an inexistent original, written in occupied Poland. In this way, the Italian poet experimented for the first time with imaginary translations. …”
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Cultura anulării, între revanșă istorică și poetică futuristă restaurată by Eugen Păsăreanu

“…Cancel Culture, Between a Historical Revenge and a Restored Poetics of Futurism The study aims to analyze the phenomenon of cancel culture and the references that can be drawn between the subsumed manifestations of cancel culture and futurism, as defined at the beginning of the twentieth century by the Italian poet Filippo Tommaso Marinetti. By reviewing the changes that the artistic avant-garde brings to the arts and observing how the twentieth century highlights art as a statement and the subjectivity of the artist as a unique landmark, the paper identifies a tendency of political and social actions to be inspired, although not assumed, by a poetic area, by a high and permissive invisible that justifies, beyond ideology, social behaviours. …”
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THE GREAT ABSENTEE: NOTES ON THE ITALIAN RECEPTION OF TWENTIETH-CENTURY RUSSIAN POETRY FOR CHILDREN by Алессандро Ниеро

“…Attention to formal aspects has also not always been impeccable, and no Italian poet has systematically devoted himself to elaborate Italian versions that could aspire to true aesthetic autonomy. …”
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Delving ‘Underground’ by Marco Fazzini

“…More than one contemporary Irish poet becomes anxious when quoting Dante, not only because Dante is the unsurpassable poet of all times, but also because Heaney’s improvisations on the Florentine poet appear, in Ireland, to carry more weight than that of the Italian poet himself. The path Heaney followed in his ‘research’ mainly meant ‘digging’ into the depths of history, language and myth. …”
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Futurism in Spanish Literature by Nur Gülümser İLKER

“…At the beginning of the 20th century, a group of authors, poets and artists known as “Vanguardistas” (modernists) paved the way for modern movements in art and literature in Spain. Inspired by the Italian poet Filippo Tomasso Marinetti, the Futurism movement quickly showed its influence in Spain as well as other countries. …”
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“I Am the Means and Not the End” by Raffaella Antinucci

“…Less explicit than that of other models, the presence of the Sommo Poeta permeates Forster’s fictional as well as critical universe like a basso continuo, to use one of the musical metaphors so dear to the English writer: while Dante’s spirit can be caught in the literary interstices in which the narration aspires to become vision – in his early novels and most notably in Forster’s fictional representation of Dante in the supernatural tale “A Celestial Omnibus” (1911) –, the Italian poet features as a privileged interlocutor in Forster’s criticism and journals. …”
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Dante Alighieri and Risorgimento: Religious Aspect of Historical Connection by I.V. Kanel

“…Additionally, the historical personage of 13^th-century Italian poet Dante Alighieri had a profound influence on the formation of national thought about a free and unified state: Dante’s so-called cult has been evolved. …”
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Omaggio a un poeta. Sereni e d’Annunzio by Raboni, Giulia

“…This is contrasted with the poetry of Montale, arguably the most influential Italian poet in the second half of the 20th century: we make the case that Montale’s innovation, decisively influenced by the English-language modernism, is much more radical, and involves not just an updating of the poetic language, but a more fundamental and theoretical renewal of the very idea of poetry and literature and of what they stand for. …”
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