Suchergebnisse

The article is concerned with the perception of Pasolini's works and ideas in the contemporary Italian literature. Many modern writers mention or refer to Pasolini in their works. For some of them he is a brilliant rebel of the 1970s (Elena Ferrante), others are still shocked by his death (Andrea Baiani), some turn to his literary heritage, borrowing individual ideas and images (the idea of Post-history cited by Antonio Scurati, the theme of duplicity by Sandro Veronesi, the theme of consumerism in modern society by Walter City) or echo by the very structure of their works (Giuseppe Genna). Pasolini becomes an example or a beacon for many modern writers, he is seen as a man who is undividedly devoted to the word and at the same time has a clear ideological position, who put above all the needs of his neighbors and who took on himself the role of the national conscience revealing the ills of modern society.

In the present article the aim is to demonstrate that one of the ways to teach literature today, in the new millennium, when literary studies do not encourage interest among the new generations, could be through its relationship with other sciences, for example, with ecology. Since the 1970's, when ecocriticism was created, in a literary text the idea is to try to analyse the relationship between the individual and nature. Starting from the fact that in nature there are balanced relations, the ecocriticism is trying to overcome the hierarchical order imposed in the society by the secular centralism. The result of this order are the members that are marginalised and oppressed, the victims of the imposition of the concept of the vertical society which implies the dominance of some members over others.
In the analysis the aim is to show that there are some contemporary literary texts that witness the attempt of exclusion of some characters, such as, for example, in the migrant literature in Italy, where the characters-immigrants are frequently discriminated. According to ecocriticism, in order to achieve a sustainable society, it is necessary to overcome these dicriminatory mechanism. Therefore, with this paper we try to find some literary examples in which, by the means of the autobiographical testimony, this attempt of dominance is rejected by the characters and they eventually find the way to integrate into the new society as well as to overcome exclusion and discrimination. In the analysis we examine some of these examples that we find in the literary work of the two contemporary authoresses in Italy: Igiaba Scego, and Laila Wadia.

Homosexuality, bisexuality, transvestitism, and trans-genders represented new ideas, customs, and mentalities which shattered nineteenth-century Italy. At this time, Italy was a state in the making, with a growing population, a fading aristocracy, and new urban classes entering the scene. While still an extremely Catholic country, atheism and secularization slowly undermined the old, traditional morality, with literature and poetry endorsing innovative fashions coming from abroad. Laxity mixed with perversion, while new forms of sexuality mirrored the immense changes taking place in a society

After the 90s, with the collapse of the communist dictatorship in Albania, there has been published annually more than one book of Italian literature for children in Albanian. The democratization of our country set the foundation of a golden season, in terms of number of translations from Italian literature for children. During this period, there appeared new Italian language translators' names, and have been present many of those who have also been active during the dictatorship. In this article we intend to make a short presentation of the reprinted books, as well as of the new books, which are numerous, belonging to the famous Italian classics and to the contemporary authors. The majority of the translations of the contemporary Italian authors for children, show the contact of the publishers and translators with the updates in the field of children's literature in Italy, which is not recorded in the previous periods. DOI:10.5901/mjss.2015.v6n3s2p503

Offering a new approach to the intersection of literature and philosophy, Modernist Idealism contends that certain models of idealist thought require artistic form for their full development and that modernism realizes philosophical idealism in aesthetic form. This comparative view of modernism employs tools from intellectual history, literary analysis, and philosophical critique, focusing on the Italian reception of German idealist thought from the mid-1800s to the Second World War. Modernist Idealism intervenes in ongoing debates about the nineteenth- and twentieth-century resurgence of materialism and spiritualism, as well as the relation of decadent, avant-garde, and modernist production. Michael J. Subialka aims to open new discursive space for the philosophical study of modernist literary and visual culture, considering not only philosophical and literary texts but also early cinema. The author's main contention is that, in various media and with sometimes radically different political and cultural aims, a host of modernist artists and thinkers can be seen as sharing in a project to realize idealist philosophical worldviews in aesthetic form.

Offering a new approach to the intersection of literature and philosophy, Modernist Idealism contends that certain models of idealist thought require artistic form for their full development and that modernism realizes philosophical idealism in aesthetic form. This comparative view of modernism employs tools from intellectual history, literary analysis, and philosophical critique, focusing on the Italian reception of German idealist thought from the mid-1800s to the Second World War. Modernist Idealismintervenes in ongoing debates about the nineteenth- and twentieth-century resurgence of materialism and spiritualism, as well as the relation of decadent, avant-garde, and modernist production. Michael J. Subialka aims to open new discursive space for the philosophical study of modernist literary and visual culture, considering not only philosophical and literary texts but also early cinema. The author's main contention is that, in various media and with sometimes radically different political and cultural aims, a host of modernist artists and thinkers can be seen as sharing in a project to realize idealist philosophical worldviews in aesthetic form.