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Share your thoughts with other customers. Write a customer review. She then re-wrote the work in Italian with the title I divoratori Milan, Treves , and after a twenty-year absence returned to dominate the Italian publishing market.
Her works always achieved a remarkable international success. During the First World war, Vivanti defended the Italian cause in the columns of the main English newspapers The Times , Westminster Gazette , Nineteenth Century , and in the immediate post-war period she embraced the nationalist cause, moving increasingly close to Mussolini and nascent fascism, and writing for papers like Il popolo d'Italia and L'idea nazionale.
At the same time she and her husband -- a Sinn Fein activist -- supported the cause of Irish independence, writing articles for a number of different newspapers and journals, and assisting the Irish delegation to Versailles in A celebrated and by now quite elderly writer, Annie Vivanti had been definitively settled in Italy for many years, attended by her secretary Luigi Marescalchi, when in the Anglophobic shift in fascist policy restricted her, as a British citizen, to house arrest in Arezzo. Although Mussolini's direct intercession soon freed her, allowing her to return to her home in Turin, the physical stress and the news of the death of her daughter Vivien, who committed suicide in Brighton in the autumn of , brought about a rapid deterioration in Vivanti's health, and she died on February 20, , shortly after converting to Catholicism.
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She is buried in the Monumental Cemetery of Turin, and her simple tombstone bears the first lines of the most famous poem that Carducci dedicated to her: Batto alla chiusa imposta con un ramicello di fiori Glauchi ed azzurri come i tuoi occhi, o Annie. I knock on the closed shutter with a slender branch of flowers that are sea-green and blue like your eyes, O Annie Annie Vivanti's encounter with various cultures, languages, nationalities, and religions makes her literature and life experience exceptional, and, in the Italian context, unique. Born and brought up in direct contact with the English, Italian, Germanic, and American worlds, Annie assimilated and fused those different cultural and spiritual components, filtering them through the lenses of an entirely Latin sentimentalism and a purely Anglo-Saxon pragmatism.
Her husband, John Chartres, a businessman and journalist, but also a Sinn Fein activist for Irish independence, added an element of political passion to Annie's life, which had been marked already by her father's example.
In her mature years this led her to take an active part in Irish and Italian irredentist politics, working against the status quo imposed by the great Nations, particularly England. Her conversion to Catholicism a few days before her death in represents the last stage in a heterogeneous and fascinating progress through all the forms of human spirituality -- the end of a complex spiritual and existential journey. A great traveler, fully assimilated into the contexts in which she lived, and in full control of her own world, Annie Vivanti had conflicting feelings towards her native England, of which she always remained a citizen.
She found the American way of life and mentality congenial, but chose Italy as her homeland.
But trying to attribute national characteristics to her is reductive of her stateless and versatile temperament: Annie Vivanti in Italy, Annie Vivanti Chartres in Europe, Anita Vivanti Chartres -- or just Anita Chartres -- in the United States -- the various images that she offered of herself to her many publics symbolize her changeability, which is confirmed by the only spatial-temporal dimension congenial to her: Annie Vivanti does not belong to a single literary genre, nor to a particular cultural movement, given her internationalism and her disjointed literary formation.
Her ongoing association with Carducci undoubtedly separated her from the prevailing d'Annunzian influence, augmenting her strong personal style and above all distancing her from the topics and styles typical of women's writing of her time. After her brief experiment with poetry, Vivanti found the path to greater success through the novel and the short story, elaborating and inaugurating, with sure technique, a captivating kind of best seller, written with a sure and evocative style whose success was owed partly to a continuous reference back to autobiographical concerns. These were always present in her work, but in measured doses that she amalgamated into the fictional context in such a way that the reader is almost never able to recognize the point at which truth merges into fiction.
In the still more complex case of Circe , the novel-confession of Tarnowska Maria the protagonist of an infamous bloodletting in Italy in , the author herself is the protagonist's interlocutor, and makes it clear that only destiny led the two women to two different fates from life experiences that are only apparently dissimilar. In Vivanti's mature period, the experience of war and political engagement mingle with themes already consolidated in the plays L'invasore which addresses the tragic topic of the rape of young Belgian women during the German occupation, a subject that was also to be the base of the novel Vae victis and Le bocche inutili about the moral drama of a soldier forced to choose between the patriotic and the personal.
In Naja tripudians , Vivanti's ironic, light-hearted style masks a denunciation of the corrupt post-World War I society that draws the most ingenuous and defenseless people into its perverse coils. La sottotitolazione come ausilio all'apprendimento linguistico'.
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Rassegna Di Arti E Letteratura , Translation Ireland , 15 1: La Riforma della Scuola , 11 [Details]. Corso di italiano aziendale. Schiavo Affare Fatto! Italiano per economisti - Revised Edition. Note interpretative sulla poesia di Erminia Passannanti. Laura Incalcaterra McLoughlin La macchina dell'estasi. Alma Edizioni Florence, Italy. The Routledge Handbook of Audiovisual Translation.
London and New York: Lertola 'Problemi interculturali nella traduzione audiovisiva' In: Didattica delle lingue e tecnologie digitali. From Eugenio Montale to Amelia Rosselli. Italian poetry in the Sixties and Seventies. Kan Qian and Stephen Bax eds. The Future of Italian teaching , pp. Online Languages for Lifelong Learning.
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ICT for Language Learning , pp. Eurocall , pp. Severine Hubscher-Davidson, Michael Borodo eds. Translation and Culture in a Global Context , pp. Bogucki, Lukasz and Kredens, Krzysztof eds. Perspectives on Audiovisual Translation Lodz, Poland, , pp. The case of subtitles. Arndt Witte, Theo Harden eds. Cultural and Literary Translation: New Directions UK, , pp. Language Education in Ireland: Anne Gallagher, Muiris O Laoire eds. Audiovisual Translation and Applied Linguistics.
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