Lo stupore del mondo (Omnibus) (Italian Edition)

When indi- viduals and communities chose, for whatever reason, to resist, as Aversa did apparently because of rivalry with Naples , it seems that they could be a severe hindrance For the first time in over a decade the South Italians had an experi- enced ruler present in their midst, offering peace and stability. A ruler between East and West, Cambridge , ; D. Yet, this is not to say that Frederick was no longer con- sidered a viable option. Some communities and individuals chose to sup- port Frederick even at crisis point.

He was the incumbent king, he had reigned in his own right for roughly two years, and he soon gained the moral support of the papacy. The emergence of Otto gave the communi- ties of the mainland a choice between two candidates, and choice meant a voice, influence and power. Whether that choice was a result of fear, self-preservation, local rivalry, internal factions, or opportunism, it still had to be made. The investigation carried out at Troia in the s demon- strates that there was a real dialogue taking place within communities over which candidate to support.

There is no certain evidence that Otto took any settlement by force despite some failed efforts , and this may ulti- mately have increased his popularity. Indeed, the fact that Frederick also left the kingdom shortly after Otto in , not to return until , must have kept the opinions of many mainland South Italians firmly in the bal- ance.

And it seems to have encouraged some to maintain a nominal adher- ence to Otto after in some cases after his position was rapidly crum- bling in Southern Germany from onwards, and even after his crucial defeat at Bouvines in , while perhaps biding their time to await the outcome of the struggle for the empire.

This in turn leaves open the ques- tion of how far this provides evidence of superficial or genuine commit- ment to either ruler, which is quite different from loyalty to the kingdom itself which seems to have always been preserved on some level. Many communities made politically perceptive and pragmatic truces with Otto; both parties could have caused serious difficulties for the other and peaceful agreements made sense in the circumstances.

As such this type of action demonstrates, with the apparent weakening of central authority, the strong role of local communities in self-government. This was a role which had been developing notably across Southern Italy throughout the preceding decade and earlier. It would be more accurate to judge these actions in terms of survival in a world of harsh realities, rather than as disloyalty to the kingdom or perhaps even to Frederick However, faced with an imperial army, that attachment might take second place to preservation.

Despite pockets of discontent, the island of Sicily and probably large parts of Calabria was not subject to the same pres- sures. The simple fact that many bishops maintained their positions after Frederick had regained rule on the mainland suggests that it was not always possible to judge actions in terms of straightforward treachery, which otherwise might have compromised their positions in the restored regime. But it could equally be that Frederick recognized their actions as temporary measures taken in diffi- cult circumstances and not necessary of harsh punishment.

The measures later decreed in the Assizes of Capua and at the Constitutions of Melfi outside nearby Barletta approx. The city of Trani received in April a wide-ranging confirmation of its privileges and customs as reward for its loyalty to Frederick, even though the city might have temporarily acknowl- edged Otto Taken as a whole, Otto seems to have briefly come very close to successfully ousting Frederick. The evidence implies that Frederick was under intense pressure in Sicily as Otto made progress further down the peninsula.

Pour le livre II: Me vient parfois au contraire infirmer C au profit de B Ainsi, en II 24 p. Pour le livre II, on peut lire depuis le paragraphe 10 re[fugeret, p. Si forte istud ad utilita- tem uestram aut ad experientiam contingit; II 42, p. Ainsi, dans le sommaire du livre I, ch. Arm 1 99 , XVIe s. Le manuscrit Z Z Barcelona, Bibl. Siciliana di Storia Patria, ms. I B , XIVe s. Deux feuillets ont en outre disparu: En voici quelques exem- ples: Pontieri Avenel Pretioque composito, a quodam leui- Pretioque composito, a quodam leuita- tatis uiro, ut, urbe digrediens, illum tis uiro ut, urbe digrediens, illum spicu- spiculo corripere attentet mercantur.

Ani- Amerinus ergo auaritia captionis cupi- mus aeger auaritia pactionis cupidine dine captus, ad perpetrandum tam captus, ad perpetrandum tam nobile, nobile, ut sibi tunc uidebatur, facinus ut sibi tunc uidebatur, facinus accele- accelerat. Le premier extrait p. Videntes autem nos- Videntes autem nostros Videres autem nostros tros tantam condensita- tantam condensitatem tantam condensitatem cir- tem inimicorum pagano- circumdantium se hosti- cumdantium se hostium rum ac Siciliensium si- um sternendo, ut a fu- sternendo, ut a furenti mul existentium et cir- renti uento solet conden- uento solet condensitas cumdantium se hostium sitas nebularum, disrum- nebularum, disrumpere sternendo, ut a furenti pere et sicut uelocissimi et, sicut uelocissimi acci- uento solet condensitas accipitres imbecillem tur- pitres imbecillem turbam nebularum disrumpi et bam auium disruptam auium, disruptam sterne- sicuti uelocissimos acci- sternere, sed cum longo re.

Sed cum longo certa- pitres imbecillem turbam certamine grassati, diu- mine grassati, diutius auium disruptam sterne- tius nostrorum infesta- nostrorum infestationem re, sed cum longo certa- tionem ferre non praeua- ferre non praeualentes, mine grassati, diutius lentes, fuga se tueri fuga tueri potius quam nostrorum infestationem potius quam armis nitun- armis nituntur, nostri, ferre non praeualentes, tur. Nostri, audacter inse- utrimque C Z: B furenti C Z: ZB Me imbecillem C Z: B infe- stationem ZB: Dans le passage suivant I 33, p.

Pontieri Avenel Rogerius […] accuratissime uersus fra- Rogerius […] accuratissime uersus trem auxilium accelerat. Pontieri Avenel Recentis carnis absque pane comestio, Recentis carnis absque pane comestio, dyssenteriam faciens, multos deiciebat, quibusdam uinum non habentibus, ubi quosdam autem spleniticos faciebat. B condiebatur C Z: Pontieri Avenel Wilelmus […] hostes in fugam uertit, Wilelmus […] hostes in fugam uertit, duce duceano, duce exercitus, qui cau- [duce] Anon, duce exercitus, qui cau- datus erat, quasi boue interfecto.

A annone B anno d. Bekk, II, Bonn , Mathieu, Palermo , I , B animantes AC Z: Pontieri Melodizat sacer clerus hymnos sacris laudibus. Praesul uerba sacrae legis seminat in gentibus: Diuinus cultus accrescitur pluribus credentibus. Cui debent haec ascribi nisi tanto principi? Avenel Melodizat sacer clerus hymnos sanctis laudibus. Diuinus cultus accrescit pluribus credentibus. Cui debet hoc ascribi nisi tanto principi? En revanche, il ne nous semble pas pour autant utile de modifier diuinus en diuinos, car accrescit est un verbe intransitif Pontieri Ordinabas quod uolebas.

Duces siue principes Deponebas superbos, seruos dans humiles. Artibus his exercuisti, iustos habens iudices. Dumque iusta sectabaris, fruebaris prosperis Leges a te requirebant omnes reges saeculi. Avenel Ordinabas quos uolebas duces siue principes; Deponebas quos uolebas, superbos dans humiles. Artibus his excreuisti, iustos habens iudices.

Dumque iusta sectabaris, fruebaris prosperis. Leges a te requirebant omnes reges saeculi. Pontieri Miles quidem est normannus qui te uictam superat. Non terret te Apostolorum sacra praesentia? Nec reuocant ab incoeptis te sanctorum pignora? Non terret Apostolorum te sacra praesentia?

Nec reuocant ab inceptis tot sanctorum pignora? A parte questo i personaggi regnanti della casa degli Hohenstaufen e soprattutto la persona di Federico Il furono anche attori della storia europea di importanza centrale in un periodo di grandi scambi politici, culturali e sociali in vari campi. I vari eventi e pubblicazioni avutisi in occa- sione dei due anni di giubileo Federiciano e non hanno soltan- to messo in memoria questi fatti. Prima di presentarvi il nostro progetto di Monaco della Edizione dei diplomi del grande imperatore svevo, vorrei dapprima ancora darvi una vista generale sullo stato delle edizioni dei diplomi degli altri Hohenstaufen e dei personaggi del loro tempo nella regione germanofona.

Fin alla sua morte ha potuto tuttavia preparare il testo completo dei diplomi. Oggigiorno ancora la sua ultima collaboratrice Bettina Pferschy-Meleczek lavora sopra le integra- zioni necessarie, controlli, indici e una introduzione sopra la storia della cancelleria. Per questo speriamo che si accelerino i lavori di que- sta edizione anche importante per la storia del Mezzogiorno. Constantiae imperatricis et regine Siciliae diplomata , ed. Codex diplomaticus regni Siciliae, ser. Rogerii Il regis diplomata lati- na, ed.

I lavori cominceranno nel maggio del Kruisheer Leiden hanno presentato il primo volume con i diplomi di Enrico Raspe e Guglielmo di Olanda fino al 8. Tancredi et Willhelmi III. Il progetto ha il patrocinio della Bayerische Akademie der Wissenschaften nel cosiddetto Akademienprogramm, che e stato finanzia- to dalla Bundesrepublik Deutschland e dal Freistat Bayern. Si realizza in collaborazione con i MGH che preparano la stampa.

I nostri lavori si concentrano sui diplomi e mandati del sovrano, le let- tere manifesti e il frammento di registro di Napoli per la sua tradizione diversa sono stati riservati a pubblicazioni separate Der Kaiser , Darmstadt Si prepara una traduzione italiana di questa opera importante. Arnold Esch - Norbert Kamp, Tiibingen , Si veda anche W. Fornito di un questionario di 44 punti, che deve garantire un lavoro uniforme, siamo andati di archivio in archivio Geburtstag von Walter Koch, cur Th. La quota degli originali varia molto tra le diverse regioni. Giovanni in Fiore e S. Maria di Fonte Laurato sono stati trovati nel loro testo inte- ro.

Prima si conoscevano soltanto per regesti molto scarsi. Siamo certa- mente molto grati per ogni indicazione e pubblicheremo cose, che ci sono sfuggite in un volume seguente. Cosimo Damiano Fonseca, Roma , ss. Jahrhunderts, in Bayern vom Stamm zum Staat, cur.

Il volume contiene diplomi, fra cui 68 originali, che si trovano oggi in 33 archivi. Il materiale diplo- matico di questi anni mostra che la cancelleria lavorava totalmente nello eius. Accedunt epistolae paparum et documenta varia, Paris rist. Di grande importanza erano anche: Menschen und Institutionen im Wandel der Zeit. Festschrift fiir Wolfgang Giese zum Siehe auch die Einleitung des ersten Editionsbandes vgl. Riguardo al periodo lungo della preparazione, ogni volume deve esse- re utilizzabile indipendentemente.

Contiene diplomi di Federico. Destinatari nella Italia Imperiale e nel regno della Sicilia, anche nel regnum Arelatense, adesso si trovano soltan- to in numero limitato, la maggioranza dei mandati riguarda destinatari nel medievale regnum Teutonicum. Soltanto il terzo volume con gli anni con il ritornare di Federico II sulla penisola italiana, primaria- mente andando alla incoronazione imperiale nel novembre del mostra ancora diplomi e mandati per destinatari meridionali; i mandati del primo periodo in Germania mostrano le disposizioni di Federico nel confronto con il suo avversario guelfo Ottone IV, ricchi privilegi per i suoi uomini di partito e anche le sue ambizioni di tirare dalla sua parte i digni- tari del regno sia religiosi sia laici.

La sconfitta distruttiva di Ottone IV e dei suoi alleati nella battaglia di Bouvines luglio e la nuova incoro- nazione di Federico come re romano nel luglio del in Aquisgrana anche dimostrano il consolidarsi del potere dello svevo. Al secondo volu- me sono aggiunti un registro dei nomi, un indice analitico ed una biblio- grafia delle opere citate. MURRAY Normans, whether from the duchy of Normandy, the principalities of southern Italy, or the more recently conquered kingdom of England, were some of the most enthusiastic and prominent participants in the expedition proclaimed in by Pope Urban II for the liberation of the Holy Land from the Turks.

Yet while the conquests of England and southern Italy both led to considerable immigration of families and individuals from Normandy itself, the extent of Norman involvement in the new principalities estab- lished by the First Crusade in Syria and Palestine seems to have been var- ied and, in some respects, problematic.

Those Normans who remained in the Levant after the conclusion of the crusade rather than returning to their homes mostly settled in the principality of Antioch in northern Syria, found- ed by Bohemund of Taranto in , whose princes and ruling class are gen- erally accepted by scholars as having retained a largely Norman identity at least until the accession of a new dynasty in the person of Raymond of Poitiers, son of Duke William IX of Aquitaine, in Keats-Rohan, Woodbridge Suffolk , Murray By contrast, no comparable attempt has so far been made to establish the extent of Norman settlement in the early kingdom of Jerusalem, a state of affairs which might be taken as an indication of negligeable Norman interest in Palestine.

Recent studies on the relationship between Norman Italy and the Holy Land have pointed to several factors in the lack of political co-operation between the two kingdoms during the twelfth century: The aim of the present study is approach the question of Norman involvement in the history of early twelfth-century Palestine by attempting to identify settlers of Norman origin in the Holy Land, and where possi- ble, establishing their contribution to the formative events as well as the institutions of church and state in the kingdom of Jerusalem during the reigns of Godfrey of Bouillon , his brother Baldwin I and their distant cousin Baldwin II , a period which offers an approximate comparison with that of the Norman regime in Antioch.

The discussion will encompass individuals from both the duchy of Normandy and the Norman principalities of southern Italy, and as far as possible it will attempt to identify their precise origins. Essays in Memory of C. Abels - Bernard S. Bachrach, Woodbridge Suffolk , Allen Brown Woodbridge Suffolk , I Most of the Norman crusaders who joined the crusade in left the West in the contingents of two leaders.

Those from Normandy, togeth- er with a much smaller number from England, accompanied Robert Curthose, duke of Normandy, who had mortgaged his duchy to his elder brother, William II Rufus, king of England, in order to finance his own participation on crusade4. Yet by early June , as the crusade armies neared the city of Jerusalem, which had been snatched from Turkish con- trol by the Fatimid regime of Egypt the previous year, the Norman cru- saders had become more dispersed.

Wolfgang Kleiber zu seinem Ruberg, Stuttgart , Edbury, Cardiff , Pope, Manchester , , reprinted in E. Murray ly elected to remain with Bohemund in his nascent principality of Antioch, but some preferred to complete their pilgrimages under the leadership of Tancred or with other leaders who marched on to Jerusalem. It would be wrong to imagine that there was necessarily any congruence of interest between the Normans of Italy and those of Normandy, and John France has forcefully pointed out that each Norman leader often followed differ- ent and sometimes opposing policies in the landscape of shifting alliances and loyalties that characterised much of the long march from Constantinople to Jerusalem6.

At the same time we should not imagine that the contingents such as those commanded by Duke Robert and other leaders were monolithic, unchanging entities. Loyalties were continually changing in the course of the crusade, and many knights — especially those in straitened circumstances — were often prepared to switch their alle- giances to leaders who could provide them with food, finance and patron- age, and certainly some of both French and Italian Normans had by this time taken service with other leaders such as Godfrey of Bouillon, while equally, Tancred and Robert Curthose may well have attracted other fol- lowers to their banners.

Thus we shall find that by the summer of some men who had originally left Italy with Bohemund had thrown in their lot with Godfrey. Indeed, during the march south from Antioch Tancred himself, and presumably most of his followers, took service with Raymond of Saint-Gilles, but the two fell out at Arqa over payments that Tancred claimed he was owed, as a result of which he transferred his alle- giance to Godfrey of Bouillon7. Robert Curthose was joined by at least one Norman who had arrived in Palestine by a far more lengthy and circuitous journey than the majori- ty of his followers, as a result of a feud in Normandy.

Probably in , Hugh and his brothers managed to surprise Mabel at Bures-sur- Dives, where Hugh personally killed the countess. They fled to Apulia and then to Sicily, but fearing the vengeance of her family and the justice of Duke William I, Hugh eventually left Italy for Byzantine territory, but even there did not feel safe, and took refuge among the Muslims, where he lived for some twenty years, studying their languages and customs, as 6FRANCE, The Normans and Crusading, History of the Journey to Jerusalem, ed.

Edgington, Oxford , It is unlikely that he was a unique case, and it is certainly possible that some Normans in Byzantine service chose to join the crusade armies as they crossed imperial territory. When the crusaders entered Palestine they evidently believed that the country constituted a regnum, and after the storming of the city of Jerusalem on 15 July they proceeded to elect a ruler to govern it. Although there was some disagreement about the title and powers of the new ruler, the leaders brushed aside the demand of some in the army that a patriarch should be chosen before a secular ruler, and on 22 July elect- ed Godfrey of Bouillon, duke of Lower Lotharingia9.

Intriguingly, some later chroniclers claim that the rulership was offered to Robert Curthose In his biography of the duke, Charles W. Yet given that it took almost a week before a ruler was finally chosen, it is possible that these sources are sim- ply reflecting a rather convoluted process in which different candidates were canvassed by the leaders of the army, and that some sort of offer may have been made to Robert, but that he ultimately failed to win sufficient support or simply refused.

For the date, see J. A Dynastic History, , Oxford , The History of the English Kings, ed. Firenze, Edizioni del Galluzzo, Murray In contrast to the case of the rulership of Jerusalem, men of Norman origin or at least with Norman connections rapidly came to prominence in the new Latin church organisation that was set up by the crusaders, who rapidly arrogated to it most of the buildings and landed property that had hitherto been controlled by the Greek Orthodox Melkite church. This process had already begun before the capture of Jerusalem, when the cru- saders reached the town of Ramla and the nearby settlement of Lydda modern Lod, Israel on the coastal plain of south-western Palestine.

Although both locations had been deserted by their populations before the crusaders arrived, they occupied an important position on the route from Jerusalem to Jaffa, while Lydda contained the ancient shrine of St George, a soldier saint and martyr who was greatly revered by the cru- saders. The area was thus an important site in both strategic and senti- mental terms, and the crusaders secured their control of it not only by installing a bishop in Lydda, but in establishing a lordship for him, consist- ing of the two settlements and their surrounding territory The bishop appointed was a cleric named Robert who, according to William of Tyre, was a Norman from the diocese of Rouen: Thus it it came about that not only the first senior ecclesiastical appointment, but also the first lordship to be established by the new Latin regime in Palestine came to be conferred on a Norman.

Robert was still bishop on the accession of King Baldwin I in the autumn of , and he continued in office for sev- eral years beyond that, since it is only in that his successor, Roger, appears as bishop Even greater prominence was achieved by another cleric, who, although not a Norman by origin, was a close associate of Duke Robert. He was elected as Latin patriarch of Jerusalem on 1 August Huygens, Turnhout , These appointments are an indication of a clear antipathy towards Raymond of Saint-Gilles on the part of the other crusade leaders.

With the conquest of Jerusalem and nearby settlements, the crusaders were confronted with the prospect of having to fill at least the most important offices in the new Latin church, at a time when many of the senior ecclesiastics with the armies had died or had been chosen to fill posts in the patriarchate of Antioch. The southern French army of Raymond of Saint-Gilles was probably the largest single contingent on the crusade, and the laws of probability would suggest that it might contain the largest number of cler- ics who might be eligible for the new posts available.

However, Raymond had repeatedly antagonised many of the prominent men in other contin- gents, particularly among the Normans of southern Italy, not only through his championing of the Holy Lance, but even more by his ambitions to establish a principality. This desire manifested itself at first at Antioch in opposition to Bohemund, and then on three subsequently occasions up to July Reuter, London , Murray Israel in south-western Palestine, and eventually retreated to the environs of Tripoli in southern Syria where he was able to lay the foundations of the principality that he craved This problematic history meant that the other crusade leaders were not inclined to favour those of southern French origins in eccesiastical offices, and a similar policy seems to have prevailed after the appointment of Godfrey and Arnulf as ruler and patri- arch of Jerusalem respectively.

There were of course clerics from other contingents with the army at the time of the capture of Jerusalem. Albert of Aachen mentions two unnamed Italian bishops who were positioned opposite the citadel of Jerusalem the Tower of David along with Godfrey, Tancred and Raymond of Saint-Gilles, when the crusaders made their initial disposi- tions for the siege One of these may have been a bishop of Martirano I, reg.

Cosenza whose career in Palestine was cut short when he was captured by Muslims while carrying despatches to Jerusalem from the crusade leaders who had assembled to confront a Fatimid invad- ing force near the city of Ascalon.

Although his fate is reported by most of the chroniclers of the crusade, we know little about his precise identity, and possibly even less than has often been assumed. Origins and Impact, cur. Essays Presented to Bernard Hamilton, ed. Zajac, Aldershot, , Hagenmeyer surmised that on the few occasions that the bishop is men- tioned, he is normally bracketed with Arnulf of Chocques, of whom he seems to have been a supporter, with the result that the name of the patri- arch was misread as if it referred to the name of the bishop.

The original misinterpretation seems to have been first propagated by the editors of Italia Sacra; it was then taken over by the editions of crusade sources pub- lished in the Recueil des Historiens des Croisades, and then unquestioning- ly accepted by nineteenth- and twentieth-century scholars writing on the crusades. The bishopric of Martirano, a suffragan see of the archbishopric of Cosenza, is clouded in obscurity until the second half of the twelfth century, when we begin to have a clear succession of incumbents Even today Martirano is a settlement with a population of little more than a thousand in the hills of Calabria.

It was thus typical of the many small and poor bishoprics which characterised southern Italy. It is thus diffi- cult not to conclude that the unnamed bishop of Martirano was in all probability the poorly educated incumbent of a poor Calabrian bishopric, for whom the crusade offered much more enticing opportunities than his prospects in southern Italy. A History of the Normans on the First Crusade, trans.

Bachrach - David S. Bachrach, Aldershot , nota Murray A longer career than this can be seen in the case of a cleric who became bishop of Bethlehem in , occupying the see until sometime between and , when his successor is first documented In the surviving documents and the chronicle of William of Tyre this is usually written as Aschetinus or Asquetinus, with vari- ations indicating nasalisation in the first syllable.

Hans Eberhard Mayer has argued that in Normandy, at least before , this name was usually written as A n schitillus, closely reflecting the original Old Norse form. In southern Italy, by contrast, the -ill ending seems to have largely changed to -in, at least in scribal practice The predominance of the latter form in the Jerusalem sources would therefore indicate that Aschetin originated from the Norman territories of southern Italy, and like the unfortunate bishop of Martirano, he may have been a relatively lowly cleric hoping to improve his career prospects in the new Latin church of Jerusalem.

After having served as cantor of the Church of the Holy Sepulchre in Jerusalem, Aschetin was appointed as bishop of Ascalon in evident anticipation of the capture of that city from the Fatimids, but when this did not prove possi- ble, King Baldwin I and Arnulf of Chocques successfully petitioned Pope Paschal II to have the see transferred to Bethlehem, a location which the Latins of Jerusalem believed was more deserving of episcopal status as the site of the Nativity of Christ.

Aschetin occupied the bishopric until some- time before , when his successor is first documented Godfrey of Bouillon spent most of his short reign in besieging the Muslim-held cities of the coast, in an effort to secure his communications with the West. Daibert was sup- ported by Tancred, who had succeeded in taking control of Galilee, and was acting as an independent ruler. The majority of those whose identities can be ascertained, as might be expected, were Lotharingians or Germans, who had come to the Holy Land with Godfrey, but three fairly prominent members were Normans. Lisieux was the son of a man of the same name who was the steward to William the Conqueror Even more prominent was Robertus filius Gerardi, who can be identified as Robert, the second son of Gerard, count of Buonalbergo I, reg.

In the mid-eleventh centuy Gerard had allied himself with Robert Guiscard, giving him his aunt Alberada in mar- riage. A sim- ilar case was that of his namesake Robertus miles de Apulia, whose surname indicates an origin in Norman Italy. The Crusades and Crusader Societies, , cur. Although Godfrey had been opposed by the Latin patriarch, he nevertheless enjoyed support from other important ecclesiastics, notably Arnulf of Chocques, archdeacon of Jerusalem, and Robert of Rouen, who as the only other consecrated Latin bishop in Palestine was the second most senior member of the hierarchy after the patriarch.

Within a year a further source of opposition was removed when Tancred left Galilee to take up the regency of the principality of Antioch, which had become necessary because of the capture of his uncle Bohemund by the Danishmendid Turks of eastern Anatolia In terms of numbers and weight, the most important originated from Flanders, Artois, Picardy, and Lotharingia, and adjacent areas of northern France. Nevertheless, Normans constituted a small but significant element among the ruling classes of the kingdom; in addition to the members of the domus ducis Godefridi, we can find some others from a relatively early date in the reign of Baldwin I.

Two Normans appear together as witness- es to a royal donation of lands issued in for the abbey of St Mary of Jehosaphat, situated just outside the walls of Jerusalem The surname of 33 Albert of Aachen, , Hagenmeyer, Heidelberg , cavalrymen and infantry ; Albert of Aachen, cavalrymen and infantry. He appears in fifth position among the witness- es after Baldwin, archbishop of Caesarea, and Robert of Rouen, bishop of Lydda, and two names which are too garbled to identify precisely.

The next name after Walter Bigot is Fulcherius clericus, and so it is likely that the first six persons listed, including Walter, constituted a group of clerics, since the fifteen witnesses listed after Fulcher are largely known as house- hold officers, holders of lordships, and other knights. If the witnesses were indeed grouped in this manner, then the most prominent of the laymen was W. In August of that same year the king had placed William in command of a force of cavalry and infantry and sent him to raid Damascene territory beyond the River Jordan.

Robert fathered two sons, William and Richard, by the concubine of a priest who lived on French territory, but they were brought up in relative obscurity until he succeeded to the duchy of Normandy, when he acknowledged paternity after their mother under- went a judicial ordeal as a proof of their parentage. When Robert was defeated by his younger brother Henry at the battle of Tinchebray in , William left for Jerusalem At this point Orderic loses sight of him, saying only that he died in the holy wars, but the more specific evidence of Albert of Aachen makes it evident that he enjoyed a career as one of the favoured military commanders of Baldwin I of Jerusalem.

In Baldwin intervened in the affairs of the county of Tripoli on the side of Bertrand, son of Raymond of Saint-Gilles, who was opposed by a rival clamaint, William-Jordan of Cerdagne, and his ally Tancred, now regent of Antioch. In Albert names William as lord 37 Lewis C. Murray of the city of Tortosa mod. It would thus appear that as part of his imposed settlement in favour of Bertrand, Baldwin had insisted on placing one of his own trusted men in charge of one of the most important lordships in the county of Tripoli.

A final case from this period was the Reinerus Brusc who died in bat- tle against the Muslim leaders Mawdud of Mosul and Tughtagin of Damascus, who invaded Galilee in Cherbourg in the northern Cotentin peninsula, and whose members set- tled in England, Scotland and southern Italy He seems to have estab- lished a dynasty in Palestine, since his namesake presumably a son Rainerius cognomine Brus is known from , and later received the fief of Banyas on the north-eastern frontier of the kingdom As the third son of Count Eustace II of Boulogne, Baldwin had little prospect of either paternal or maternal inheritance, which were earmarked for his two elder brothers.

He had therefore originally trained for the church, but at some point — probably before — he reverted to lay status. It is thus possible that some of the Normans promoted by Baldwin in Edessa and Jerusalem were men whom he had known before the crusade. Not all of them elected to remain in the Holy Land. Robert, the son of Gerard of Buonalbergo, returned to Italy at some point before , when he is recorded as having received land from Count Jordan of Ariano, the son of his elder brother Herbert His return may in fact have 40 Albert of Aachen, It is likely that he is the same as the Robertus de Monte Fusco who is mentioned several times in the chronicle of Falco of Benevento and was murdered in a feud at Benevento in II The year is an appropriate caesura to take stock and compare Norman settlement during the earliest years of the Latin kingdom with the final years of Baldwin I and the reign of his successor Baldwin II.

Godevere of Tosny died in October at Marash mod. Karamanmara', Turkey in eastern Cilicia. The next year Baldwin contracted a marriage with a daughter of Thathoul, the Armenian lord of Marash, as a way of consolidating support after seizing power in Edessa. While this alliance may have been important in a regional context, it was far less significant after Baldwin succeeded to the throne of Jerusalem. At some point between and the king put aside his Armenian wife, forcing her to enter the convent of St Anne in Jerusalem; however, she refused to accept her allotted fate, and took refuge with her father, who had been living in Constantinople since Nevertheless, events can be reconstructed in 45 H.

Around , Maraffa left a servile and an extremely patriotic attitude towards the autarchic Palermo and headed north, to Genoa and Milan and, eventually, to Rome. From time to sort of periodical, a clever mix of cosmopolitism, patriotism, and time, Italia fascista presented its readers with more artistic content, politics.

Futurism and its main features modernity, weighted down by an abundance of percentages and other figures, a energy, innovation and, later, fascism seduced the restless Maraffa telling sign of a too obvious deferential attitude towards the regime. If and contributed to his radical transformation into a militant journalist. It also meant leaving his trademark notion of a literary particular region or city of the empire where fascist enterprises were and cultural magazine.

The years immediately following World War I particularly successful. One of his periodicals, started turning its gaze inwards. By the early s, in the last desperate moments of activities around the world. With had already appeared in print, as a pamphlet, the previous fall, but the regards to his choice of pseudonym, Flirt readers would remember founder of Futurism allowed Maraffa to publish it as well, an important that Maraffa had been using this pen name for decades.

Unfortunately gift for a struggling publication like Italia fascista. On 21 July , Maraffa celebratory. Incidentally, this initiative aroused offense in the foreword of one of his collections of poetry, Chiarezze: Ma questi giornalisti sono davvero inesauribili nello aspirare e Comm. Why would the Ente Stampa and the Ministry not use his commitment for its own purposes?

Since the fascist press was In , Maraffa was already a Mussolini supporter and more heavily controlled beginning in year of the foundation of the than once defined himself a Sansepolcrista. It was not the case. On the contrary, the Min. Overall, between and , Maraffa received A poet since the Flirt years, Maraffa wrote a number of openly philo- more than fifty thousand Lire Ministero della Cultura Popolare n. Among them, Aquile di Roma and La pelle del He was not alone: For instance, Antonio Favales, the proof of this as early as 6 September Not a young age, especially for richieste e quindi su lettere di ringraziamenti di prammatica in someone plagued by professional and personal troubles.

His personal base alle quali poi carpisce adesioni e ottiene entrature arrivando situation was almost as chaotic as his professional one: Polizia Politica, Report on Maraffa, Savagnone. They had two daughters, bound to become well-known 6 September doppiatrici: Rita and Deddi Savagnone. As del Maraffa che se ne serve per ricevere contributi finanziari; Philip Morgan noted: It was during this period that many Italian 12 September , the Germans had freed Mussolini and had put intellectuals who were active under the regime started on the thorny him at the head of the short-lived new republic.

Like Maraffa, people path that would take them through the end of the war and beyond. Like who had been professional and financial profiteers during the previous Maraffa, many successful figures quietly sailed through this delicate regime must have taken it as a sign that the old ways could resume. The publishing press was not immune to this memory loss: Maraffa depicts himself not like an exploiter of fascist politics and Proveniente dai Fasci Rivoluzionari Interventisti di Milano. It would — Milano P. Curriculum Vitae his letter to Mezzasoma, and the move to Venice meant that his archive was lost.

It is hard to say whether Maraffa had actually been at risk. In the post-war years, this proud fascist biography is excised, leaving Some philo-fascist intellectuals were imprisoned and tried. Among an embarrassing twenty-year gap: Fogu offers an explanation: He followed many others on the prescrizione.

A small price to pay, all things considered. On the contrary, it resumed vigorously, ardua purezza lirica, non abbiano accanto alle poesie, manifestato propelled by a new-found energy: The period immediately after liberation in saw a mushrooming Per trovare poeti che si dichiarano indifferenti alla vita politica, of small publishing houses, some of which survived for only a … bisogna giungere ai minori poeti del romanticismo e del few months, and an increase in book production, despite residual decadentismo. Ma, appunto, si tratta di poeti minori: At the same time some existing publishers sought che, di fatto, non erano ancora divenuti uomini.

XIV—XV to take advantage both of the market opportunities and of the chance for cultural renewal opened up by the liberation. Gundle In the past several years, historians and literary critics tackled and Forgacs the question of Italian intellectuals and their relationship with fascism, but a lot of work still needs to be done on the so-called minor or marginal However, in spite of his efforts, Maraffa did not manage to figures and their participation in the fascist propaganda machine.

This is a sign that, while not openly ENDNOTES promoting it, the ministry did benefit from these apparently irrelevant characters and from their unauthorized propaganda. Italiana per i suoi meriti di giornalista. Later, in Rome, In the early s, Sebastiano Munzone published an he published his own works under the Italia Fascista Editrice label. See Cristina anthology of Sicilian poets.

Soltanto per la insistenza di alcuni editori ha raccolto Viator dolente la sua opera poetica riunita in tre volumi: Ombre, silenzi, armonie con illustrazioni nuovo Israele errante sempre inquieto di Servolini poesie ; Riflessi, Chiarezze poesie. Corselli dal titolo I nostri Capi. Mangano sent the Duce her article together with a request for a meeting.

However, before this little setback, Mangano, like Maraffa, passatista. Ma non vorrai tu office, she was hired at the Ente Stampa: She followed up the in altri giornali e in altri centri: Ti ha good news with a thank you note: Ti prego di agire fulmineamente Cesare. Ti abbraccio con grande affetto, Tuo aff.

The letter is written on Italia fascista reviews in this particular issue. But there are some short reviews of operas and films stationery. Vogliate Esperia, contiene la Poesia dei tecnicismi. Proveniente dal Gruppo Nazionalista Giovanile di Genova. Aderente alla storica continued its irregular publication until By then, Maraffa had almost completely adunata 23 Marzo — Milano P. Archivio Centrale dello Stato. Bruno Maraffa in Duke University Press, Bloomington, Indiana University Press, La stampa del Ventennio: Flirt rivista di splendore Bernabei, Gilberto.

Note to Salvatore Maraffa Abate. Publishers, Writers and Readers. Popolare, Busta , n. Caesar, Gabriella Romani, and Jennifer Burns. Il foglio 12 November Estudios Italianos, Nov. Mariapia Lamberti, Franca Bizzoni. Archivio Centrale dello Italy. Oxford University Press, Letter to Benedetta Cappa. Filippo Di Dino, Chiara. Letter to Nicola De Cesare, 26 September Fascism in Popular Memory. The Cultural Experience Centrale dello Stato. Cambridge University Corrispondenza Ordinaria]. Maraffa Abate, Salvatore Leodalba. Biblioteca del Vascello, Italia Fascista Editrice, Segreteria Particolare del Duce, quaderni del meridione 87—88 Riviste ottocentesche e storia della critica.

La vita quotidiana a Palermo ai tempi del Gattopardo. Filippo Tommaso Marinetti Milan: Gli intellettuali che vissero due volte. Letter to Fernando Mezzasoma. Ministero della Cultura Popolare. Busta , Serrati, Giacinto Menotti. Archivio Centrale dello Sturzo, Luigi. I mali della politica italiana: La pelle del serpente. Il Primato di Giuseppe Bottai: Italia fascista The fall of Mussolini. Italy, the Italians and the Second World War. Introduction Scholarly studies have often discussed the huge impact of the film Casablanca WB, , directed by Michael Curtiz and produced by Hal Wallis on American media and popular culture.

Many critics have attempted to explain why the film continues to be regarded as one of the most iconic and celebrated Hollywood films of all times. Italian viewers, on the other hand, will most probably be familiar with these lines in their corresponding Italian translation, given that Casablanca has, since its first distribution in Italy in , received theatrical and television release in its dubbed version. We shall also see that, although not so intuitively, when the film and joined her husband Laszlo, whom she had believed to be dead, was finally ready to be released in early , its edition would be without having the chance to explain to Rick the reasons behind her considerably affected by the legacy of Fascism; this in spite of Italy painful decision.

After a series of political gambles with the French being, at that point, a democracy allied with the US. To illustrate this and German police, Rick i. It was in , in fact, even before Casablanca was produced, escape from the menace of the Nazis in Europe find temporary refuge that Warner Bros abandoned the Italian market as a result of the in unoccupied French Morocco. Let us take a step back to observe what happened to the to wait there until the war ends. Yet there are people in Casablanca distribution of American films in Italy during these critical years. Will the seemingly cynical and selfish on foreign film distribution.

A significant European Resistance, a clandestine movement fighting against the Axis number of foreign films by small US companies such as Monogram, powers. As the story unfolds, a few flashbacks reveal that some years Republic, and Grand National would still circulate in Italian cinemas earlier, in German-occupied Paris, Ilsa and Rick had had a romantic after the withdrawal of the Big Four. Moreover, from the early onwards various laws were enacted. The political and social unrest in the Italian peninsula caused 4, 5, 9 and both the ban on dubbing foreign films abroad and the by the long years of war, sacrifice, deprivation, foreign occupation, dubbing tax to be paid by film distributors art.

Because of their pro-interventionist message against the Axis, least until mid Besides, as far as the Italian case was concerned, at the its establishment in the new Roman headquarters. Whether under the beginning of the monopoly laws promulgated during Fascism suggestion of the PWB film section or not, Warner Bros seems to have still formally stood in protection of the Italian internal market against been waiting for the Italian political and social waters to settle before American products.

Distributors established a Psychological Warfare Branch PWB at the Allied might have also decided to wait for Italian film translators and Headquarters in Rome in the building formerly hosting the Ministry experienced voice-actors to prepare a domesticated dubbed version of Popular Culture MCP. Consiglio dei Ministri for permission to release Casablanca in the Archival research has documented that, on March , the Italian commercial film circuit.

Stone, head of dubbed version was then authorized, obtaining the obligatory nulla the allied military command in Italy, organised a series of important osta on January 10, Importantly for the present discussion, the Admiral insisted regulations on film censorship art. This decree banned film scenes, facts and subjects: Otherwise, if the producers or distributors did not agree with the first decision, they could file an appeal and the same film Offensivi del pudore, della morale, del buon costume e della would be reviewed by a second commission.

If the second commission pubblica decenza; From the authorization, the the end of the war. A passage from the document reads: Il film raggiunge una efficacia [sic] tensione spettacolare, films, e. If authorized, the war setting in other words, far from the more crucial battlegrounds film would be distributed in cinemas. In the case of restrictions or of Western Europe. The war was over, Although no document has been found attesting the exact and the fascist regime had been replaced by a democratic political date when the film was translated and re-voiced into Italian, it is very system.

However, the personnel of the previous administration were probable that the Italian edition of Casablanca had been prepared largely maintained at the film office. Although there is no official evidence formed mainly by the popular dubbing directors and actors of the s. Indeed, if the script had been the Italian film industry, and more specifically in the dubbing or post- presented for approval, and a final script re-submitted after being synchronisation sector.

The name of the person in charge of preparing the by the distributors to limit expense of money and effort i. However, recent archival research has requirements, which, as discussed above, were the same as those of revealed that Carlo Silva was credited as the dialogue writer in the Instead of that petty charge Italians in the war, and 3 the representation of Italian characters in you have on him, you can get the film.

The the dialogues in the original version while b. One example in particular is indicative of a moralistic il deserto non occupato. The government, were substituted with a different geographical indication fact that both the re-edited dubbed version and the subtitles do not that wanted to recall the contemporary Chinese Civil War. In particular, were only two isolated cases in the film, but they served a very specific the references to the Fascist presence in Ethiopia and in the fighting purpose: In , you in the film, whether used to criticize Nazi-Fascist ideology or to fought in Spain on the Loyalist side.

The Fascist captain Tonelli is a background character with 3. Italian characters only few lines of dialogue. The first time the Italian officer appears in the film, he censorship directed at controlling the negative representation of introduces himself with vain pomposity see fig.

It is well known that during the s unwelcome representations of Italians in film were denied permits for distribution in Fascist Italy: These two characters have short lines of dialogue and must have not been recognised as Italians by either the dubbing personnel or the film commissioners as they do not have an evident Italian connotation or accent in the film. Their lines were therefore translated according to those in the original script.

In the film there are two other characters whose Italianness Fig. While in the original version captain Tonelli switches from speaking 8 Renault scoffs at Tonelli as the latter and the French officer English to Italian, and gives a pompous Fascist salute to the German pass by arguing indistinctly and gesticulating: The original passage has been re-inserted in the victory.

After this scene, Tonelli is mainly seen fooling around with The second Italian character is the owner of the club The Blue Parrot, Casselle gesticulating and arguing indistinctly anytime they appear on signor Ferrari. Ferrari is renowned in Casablanca for being in charge the scene. The second appearance made by Tonelli see fig. Man in the street: He has a monopoly here on the black market.

Egli ha quasi tutto il monopolio del Mercato Nero qui. Thank you for the coffee segnore. I shall miss it when we leave Casablanca. The seen adulating any women who passes by a Latin Lover stereotype identity shift also respects quantitative synchronism, that is, each were not already undeniable clues of his Italian characterisation, the dubbed utterance has to contain roughly the same number of syllables final mention of the coffee made by Ilsa 11 leaves no doubt about as the original utterance.

The rewriting and visual censorship discussed in this section with Ferak was probably suggested by the fact that the character wears are quite significant because they are not a reflection of the historical for most of the film a Moroccan Fez hat see fig. Because of this, they were prone to perceive the lo staiter [sic] in divisa fascista. Casablanca with a different state of mind because for them Casablanca a vietare la circolazione della pellicola in questione: Borrowing with fictional World War II narratives. Having be modified during the post-production phase.

However, this that the American Allies had in the eyes of many Italians. Instead, case is only one of many examples of film censorship directed at the ideological rewriting and censorship of the recent past in the inhibiting the memory of Fascism and of World War II in Italy in the dubbed film is a clear testimony of how Fascist forces were still at post-war period and beyond.

Many by Giuseppe Spataro. Spettacolo e Turismo and placed it under the direction of Franco Libonati. According to the historian, in the US, see Merlock Jackson It was published in the Gazzetta Ufficiale on November earlier in , was now put in charge of the distribution of foreign films in the 3, , No. At the beginning of , this control passed to Einape [Ente 15 nazionale acquisti importazioni pellicole estere] presided over by Giacomo Dusmet.

A complete official list of these releases has not been traced back in SIAE records 6 and other sources because the activity lay in the hands of the PWB. Film archives in the US would probably yield some results and paid by foreign film distributors, from the initial 25, Italian lire per dubbed film of shed light on the issue. Moreover, an additional charge of 20, was to be paid on 16 each dubbing for any additional , lire earned by these dubbed films in Italian 20th Century Fox was also dubbing its films in Madrid because a group of cinemas this was fixed between the profit range of 2.

Italian dubbers was blocked in Spain, according to Quargnolo United Artists films could still circulate until 31 December He indicated 58 17 films released in , 83 in , 34 in , 8 in and 2 in Indeed, See for example a short article published in Films in Anteprima in January other archival sources document that, for instance, Universal films could also which documents that on June American dubbings were still circulating in Italian circulate without impediment.

Compare later in the text. The volume of Marco Polo , US, dir. This work focused on the complex interplay between Wise Guys, and Sopranos. Historical 32 archival research revealed striking continuities of concern and practice at the state-run The case of the Fascist officer could have also been grouped in the previous set of film office during the period A new examination of Casablanca was carried out by the Italian film office and 33 registered on September 28, ref. The distribution company Nettunia until February 5, For an account of how the CDC was born, the particular to Focardi.

Many thanks should go here to Luca Portas, film archivist and conservator Casablanca - Italian film censorship file ref. Edge of Darkness La bandiera sventola ancora - Italian film 27 censorship file ref. The case is discussed in Mereu The Dub No. First of the Few Il primo dei pochi - Italian film censorship file ref. Il cattivo tedesco e il bravo italiano: La rimozione film censorship file ref. Mrs Miniver La signora Miniver - Italian film censorship file ref. Indiana University I trecento della settima - Italian film censorship file ref. Round Up the Usual Suspects: Dagos, Palookas, Romeos, Narration in the Fiction Film.

Benjamins Translation Library, forthcoming. Caldiron, Orio, and Matilde Hochkofler. Casablanca and Di Cola, Gerardo. Le voci del tempo perduto: Storie in movimento, 23 Storia economico-politica del cinema italiano Eco, Umberto. Cult Movies and Intertextual Collage. University of Wisconsin Press. La Cineteca del Friuli, An Aesthetic of the films of the Forties that does not belong among the masterpieces Approach. University of Toronto Press, Piscitello becomes a card-carrying Fascist with the approval of his wife, Rosina Ave Ninchi , and his daughter Delia Scala , and despite the indifference of his anti-Fascist friends.

His son, Giovanni Massimo Girotti , is a royal army soldier who takes part in all the wars declared by Mussolini in Ethiopia, Spain, Africa, and Russia. During one of his furloughs, he becomes engaged to Maria Milly Vitale , the granddaughter of the town pharmacist Aldo Silvani , and marries her. When the Allies land in Sicily and the armistice is proclaimed, Piscitello loses first his son Giovanni, who is murdered by two retreating Germans, and then his job.

In this story, the end of the Regime and of the war do not coincide with a renewal of the political class: Even such a brief summary reveals why Anni difficili has aroused strong opposition on all sides of the political spectrum. The portrayal of Italians that the film conveys does not spare anyone and was quite new in the history of Italian national cinema. Briguglio Film, promoted its restoration. However, it was openly defended by Giulio Andreotti, the undersecretary to the president of 2. The comical and grotesque approach mitigates a specific historical context, freely adapting the plot from a literary the bitterness and skepticism of its message.

Probably for this reason source to talk openly about Italy and its middle class during and Andreotti not only gave a nihil obstat to the film but defended it after Fascism. However, three other reasons should be considered. Zampa uses a quick and easy cinematic as in Bicycle Thieves , than with the political opportunism language that connects immediately with the spectator.

It would be depicted in Anni difficili. Zampa inserted archival footage in his film, and dialogue but also from the composition of the frame and the play but not to create the mimesis of reality. As we see in the sequence between actors In contrast to the war Attention is as a bookish exaltation conveyed by literary myths. The third time Piscitello looks at himself is in a real mirror As suggested by Luca Baranelli 11 the debate was especially strong while he is wearing the Blackshirt uniform, and he throws his hat at within the Communist Party because at that time it was easier to his own reflection.

His anger stems from the fact that the pharmacist discuss the public controversy surrounding a still-contentious topic has been arrested by the same forces Piscitello represents with his such as Fascism and anti-Fascism through a comedy like Anni difficili uniform. Then the postcard arrives that draws his son back to the war. The Spectator in the Mirror the character to confront his guilt and cowardice and acknowledge the casualness with which he and many others joined Fascism. According to Vigliacchi, siamo stati tutti.

Quelli che battevano le mani in piazza Goffredo Fofi , both Brancati in his short story and Zampa in e quelli che fischiavano nascosti in casa. Io ho fatto morire mio figlio. On the contrary, they have Piscitello from his slumber and passive acceptance of Fascism. The first time we see Piscitello in front of a is a more powerful mirror of society than the short story. While In , Zampa and Brancati had a broader understanding of he looks at his image reflected in the mirror he tries to wake up his Italy than the writer had in , when his short story was published. Piscitello wonders aloud how she will be able characters that intensify the satirical dimension of the plot, where to become a serious teacher if she wastes her time reading empty the relationship between Italians and political power, their ability to literature.

Their lack of political consciousness is revealed when they church and Fascism more fully. Paradoxically, the censor asked production to remove political and intellectual ineptitude. The in Modica dying along with him. On the other hand, the the Regime is furtive: He pretends to go to war or urinates on his party affiliation card or his black shirt. Ma il problems within Italian society… but some lack the artistic concentration typical problema interessante del nuovo cinema italiano era vedere se il of [Neorealist] works and may include a mixture of styles or film genres.

Others drift away from a cinema of realism, actual or apparent, toward a more traditional linguaggio dei Visconti, De Sica, Rossellini, Castellani riusciva a commercial cinema, the very kind of cinema neorealist theoreticians such as Zavattini proliferare, se da stile poetico riusciva a diventare lingua corrente, sought to avoid at all costs. He was undersecretary for the president of the Council of Ministers under the in una certa misura, di massa, esprimevano aspetti spiccioli di cabinets led by Giulio Andreotti.

Franco Evangelisti, Enrico Fulchignoni. Films that make people laugh and reflect, provoking a certain— Carlo Montuori. Giuliana Bagni even partial—self-consciousness in the spectator, have been few and unmentioned in credits. Franco Casavola, directed by Ugo Giacomazzi.

This is the reason why it is so important to rediscover a Editing: Eraldo da Roma Eraldo Judiconi. Francesco De Feo and Mauro Bolognini. In , it offered Italians a mirror Production: Although Mostra del cinema di Venezia. As a member of the Central Committee of the PCI , he was quelle che le hanno immediatamente precedute. He directed the journal Critica Marxista from to The debate within the PCI was 17 very lively and revealed unexpected points of view. On the one hand, Calvino intervened in the debate and recognized and directed several films.

The restoration was carried out in digital 2K resolution. Anni difficili and its director. Moreover, in spite 28 This dialogue shows how the characters are generally ineffectual when faced with of the protests of Christian Democrat senators Emilio Battista, Mario Cingolani, and political and intellectual matters: Secondo loro che cosa dovrei fare? Io non ho fatto nessuna insinuazione.

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Oh avvocato, potrei citare a memoria certi suoi fatalismo solo se si aggancia a questi grandi fatti, solo se si aggancia alla Storia. In Corriere della sera 28 October Brancati in his short story: Ci piace star male! Che fascisti e antifascisti di scarso coraggio abbian ritratto inorriditi 31 Cops and Robbers Dir. Mario Monicelli and Steno Reprinted in Cosulich, Callisto taken directly from the short story: Che cosa ha detto il papa?

Storia del cinema italiano. Reprinted in De Giusti, Luciano ed. Marsilio-Edizioni di however timid, to joining the Fascist Party: Ma lo sa che ci sono degli ex deputati, degli ex ministri che darebbero un occhio della testa per essere iscritti al partito e Anni difficili. Arrivederci Piscitello, arrivederci e a domani. Riflessi da un paradiso. Edizioni cinque lune, Il cinema di Luigi Zampa.

From Neorealism to the Present. Edizioni della Cineteca di Bologna, Frederick Ungar Publishing Co. Reprinted in Racconti, Teatro, Scritti giornalistici. Nuove 44 7 November Reprinted in Cosulich, Callisto Rossellini, Visconti e la guerra fredda al cinema. Reprinted in Cosulich, Callisto ed. Review of Anni difficili by Luigi Zampa Hugh Tomlinson and Barbara Habberjam. Hugh Tomlinson and Robert Galeta. Da Via Etnea a Via Veneto. Breve storia del cinema comico in Italia.

Ritornato a Capri, nella sua Casa come me a Punta Massullo, sul finire del fu nuovamente arrestato in almeno due occasioni per i suoi trascorsi fascisti. La vicenda giudiziaria che lo aveva portato a difendersi internazionale condizionato dalla competizione tra Usa e Urss. Firenze, 13 marzo Parigi, 11 marzo Troppo clima di sospetto che circondava la sua persona. Capri, 16 Maggio Capri, 13 giugno Gli Italiani sono che aveva necessariamente dovuto attraversare il fascismo; il tentativo incorreggibili.

Io mi ci trovo bene in Italia: Tutti hanno paura, in Italia. E quando dico polizia plaisir. Ma un Italiano non due cappelli di paglia, copricapo, spiega lo scrittore, molto utile agli si sbaglia. Se non sei qualcuno, il passaporto non lo italiani che hanno sempre la testa calda, sono elevati a simbolo del riesci ad avere.

Un operaio, un uomo, o donna, del popolo, non passaggio storico che il Paese ha attraversato e sta attraversando: Se sei qualcuno, subito. Possibile che non si riesca mai ad esser liberi? Non pas les morts, stesse cose a Milano, in Aprile Ce sont deux chapeaux de paille viste neppure in Russia. Hanno armato tutta la canaglia: Le antiche divisioni interne al fascismo e mai risolte, aggiungeva lo scrittore, si sarebbero riprodotte ora nei partiti On ne peut pas comprendre la situation actuelle, morale et antifascisti: I partiti, con la loro propaganda, fecero a Capri il giorno di Pasqua del In fin dei conti erano irredimibile: La parola, di Fig.

Inni satire origine toscana, si riferisce, come spiega ancora una volta Pasquino, epigrammi, Ora si chiamavano Alcide De Gasperi, Palmiro 13 settembre Togliatti, Pietro Nenni, Carlo Sforza. Aveva pensato anche di arricchirlo Malaparte aveva inizialmente proposto la pubblicazione di con i disegni del pittore Renato Guttuso: In Francia aveva raccolto il successo internazionale riscosso In questo periodo, si rivolse a Valentino Bompiani di sommario, con il titolo Batticulo. Il 10 ottobre concludeva, doveva essere il seguente: A novembre che, insomma, avrai paura: Ma verso la fine altre due parolacce, due sole, che troverai in un epigramma….

Temerai del mese, Bompiani ebbe un ripensamento.

Questi informa il nuovo arrivato di quanto accaduto in Italia: Venne Mussolini, e definitiva del rapporto professionale tra i due. Poi sei venuto tu, e li amareggiato. Son venuti i Russi, e gli Italiani si sono editore, forse per un opportunistico interesse: Storia ai quali vai incontro tu, come editore. Ma il bersaglio principale dello scrittore resta per tutto il romanzo il comunismo sovietico, che, 4. There is a chain of metaphors that, by actualizing themselves in a new meaning, relay to a higher region their growth in the form of a new metaphor. The problem of the unstable original is bypassed by this provisional appropriation of an original work of art.

The move is presented as the most natural operation of reading. In this process of endless redressing, Gentile necessarily sus- pends the original work of art, holding it outside the intra-linguis- tic relation and protecting its wholeness from revealing its met- onymic status.

Ultimately, the subject is defined by the fortress- house, which it might have built, but of which it was never the king. This subject can only find itself already made into the Kafkaesque animal that it does not know. The translator must be recep- tive to the disruptions already at work in the original language of the work of art that translation reveals; and the translator must ulti- mately make room for this disruption in the language of transla- tion, which painfully grows and expands in a non-human manner.

Gentile conceives of the art of translation as an hermeneutics. And translation is indeed an act of reading: Thus I get in touch with what was repressed, covered up, hidden in the specific material language of the original work. There is no text with- out a reader who brings the text to life in its afterlife: Translation is itself a translation first and fore- most of our own words as we proffer them. Now, in my actual speak- ing of my language I am actually translating within my very lan- guage already many languages , in the uniqueness of the only Lan- guage humans speak.

Translation acts itself out as translation: The ultimate task of the translator is to read the unreadable. It is to deal with a writing that writes what is never meant to read, what is unreadable—like graphemes for speech. Graphemes in writ- ing are taken for granted, yet they are the keepers of a promise of meaning. For Gentile, to speak is to write since speech has all the prerogatives of writing. What Gentile says is, all at once, what is being said and the confirmation of what is being said. In repetition lies the novelty. In order to do this, the saying must be recognizable and repeatable— even if this may mean that the saying is recognizable by itself as a language that in turn recognizes itself as it speaks.

The historical continuity between the then and the now postulated by Gentile is marked by the univocity that indicates the historical ether, accord- ing to Husserl Derrida, Husserl The platonic mimetic relationship between image and speech will end up with writing occupying the last and hum- blest place within the chain of signification. Grammars always follow language in an attempt to stabilize what is already in itself destabilized.

In this sense, grammar shares the same project of translation: In fact, the arbitrariness of each and every grammar is what Gentile has to reconcile with the spirituality of language. The metaphorical sequence of replacement gets interrupted. When we translate, we open up all options of signification out of an original restricted referentiality. From here on, there is no way to orient ourselves any longer. Benjamin clearly says so. Otherwise grammar coincides with language and language with translation. Indeed, Gentile—and here is a paradox—says this much.

The con- sequence is the killing of the originality of any origin. And this lack is already at work in speech as it is in writing: Since Plato, writing has been the sign of a sign removed from truth, and this process is also at work always already in speech as we speak. I read, I say, I translate, therefore I reproduce all at once in an immediate iterability which is directly possible thanks to the me- chanical reproduction of any original sound bite, of any graph- eme playing within language.

Benjamin himself addresses the mechanical reproduction of the work of art and the issue of the aura in The Work of Art in the Age of Mechanical Reproduction.

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It haunts the original. Again, Gentile speaks of Dante—a Dante read, spoken, translated, therefore forever re- produced anew in his afterlife. When we read—as when we read Dante—we have to reinvent what we read. Our reading must affirm the original; and our reading, in or- der to be affirmative, must confirm its originary reading. The I-then-there and the I- now-here underscore my singular signature: I-now-here reaffirm the I-then-there. Ultimately, I am not Ulysses either, I have respect for the past, I submit to what is in front of me: The first event must already be iterable, it must immediately confirm itself in differentiating itself by its now spo- ken iteration.

This is achieved by charging every word, every sentence, with meanings, possibilities, associations. In reading Dante, we partake of the chains of confirmation. However, Gentile sees this trans- lation as an affirmation of the original. La Terza, , University of Minnesota Press. Inven- tion of the Other. Kamuf, Peggy and Elizabeth Rottenberg, eds. Maurizio Godorecci 69 Stanford: Stanford U Press, The Johns Hopkins U Press, Cornell University Press, Notes 1 Previously published in Rivista di cultura, a. The English translation from the Italian is mine throughout. Also reprinted in K. The translation from the French is mine throughout.

In this sense to be in the closeness of Being means to be there where the metaphor retreats. Hear Say in Joyce.

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New york and London: Her article Dalle zolle perdute alla ines- tra: Francesco Petrarca Petrarch requires little introduction. Incomparable poet, in- novative Humanist, and brilliant scholar, his major works consist of the Rime sparse Rerum vulgarium fragmenta , I trioni, the Secretum, and numerous collections of letters. We have chosen three sonnets whose themes and images reappear in the poetry of Gaspara Stampa: In the second, the mythological Arabian phoenix is compared to Laura and of course poetry itself— il lauro. It includes a critical introduction, commen- tary, and a rich array of biographical and bibliographical informa- tion.

It is based on the edition. Here we offer new versions, more focused on poetic harmony than literal meaning. The Venetian poetess takes up the themes of love and memory while renewing the emblem of the Arabian phoenix and the ship struggling at sea. These imita- tions were rendered in English and in Italian. The Italian version was co-translated with Antonella Anedda. The present version is more of a translation than an imitation. Nevertheless attempts have been made to recreate corresponding meters, rhymes, and tones as well. Francesco Petrarca, Canzoniere XC Her aura was scattered in strands of gold which she had wound in countless knotted crowns, her lovely light-illed eyes, which have turned old, once burned beyond their source of greenish brown.

It seemed compassion set her face aglow, I do not know if it was dreamt or real the fuse of love that lit me long ago though I should not wonder since I still feel. She did not move as any mortal thing but like angelic dawn, nor were her words dull sounding like a human, they seemed to sing like one celestial spirit, sun struck wings had touched her soul and voice which I irst heard and had they not, my wound would lose its sting.

Cerulean edges of her violet dress, conceal her fair shoulders scattered with roses uniquely beautiful aura, novel guise. Fame still proclaims that her sweet scented breast in Arabian mountains hides and poses yet she lies so haughtily through our skies. What helmsman could steer his precious ship through tides as I have done, never afraid to wrestle the currents or cliffs, guiding my frail vessel amidst the battering blows of her harsh pride?

And yet this rain of tears and fearsome winds of ininite sighs now drive my vessel on throughout my sea of winter and horrid night bestowing tedium to her, aches and chagrin to itself, nothing else, vanquished by strong sea surfs disarming sails to ungoverned might. Oh night, worthy of praise by the highest and keenest of minds, not by my ecstasy.

You brought him back to me with tenderness the one who each joy of mine has governed disarmed my doubts, dissolving all stubborn remains of bitterness with sheer sweetness. My game and my every delight consist of living ire and never feeling pain, of never caring if he who causes this relents the vehemence of his domain. Soon after the irst lame had burned away, then Love lit up another, which I feel with more intensity and greater sway.

A ire just like the irst I feel; if this, in such tight space, is now the case I fear it will be greater than the other. What can I do, if burning is my appeal, if voluntarily I consent to taste ill after ill, one ire after another? Durling, Harvard University Press, Annotazioni di Daniele Ponchiroli.

Torino, Einaudi, , pp. She has published essays of literary criticism in Critical Companion to J. Her work displays a full range of emotion as she reacts to challenges she faced as an orphan, wife, mother and widow. Her immediacy of voice and personal subject matter create not only an unprecedented feel for the struggles of women of her historical period, but also relect a sensibility almost modern in its confessional tone.

Rime spirituali sopra i Misteri del Santissimo Rosario Roma: Molinelli, ; enlarged During the next twelve years, Turini Bufalini continued to write and revise this work, which she describes in two sonnets3 as providing her with an outlet for her creativity as well as with much-needed consolation throughout her dificult life. At the time of her death in , however, the poem remained unpublished.

Over the centuries, the text of Il Florio was believed lost until, in the s, a manuscript was located among the family archives at the Bufalini castle in San Giustino Umbria. I am greatly indebted to Professor Antonio Lanza, Director of Letteratura Italiana Antica, for permission to reproduce the original, as well as for translation permissions. I extend my heartfelt thanks to Professor Natalia Costa-Zalessow San Fran- cisco State University , for her unlagging generosity in sharing her knowledge of Italian literary history with me.

Comment on the translation In Il Florio, Turini Bufalini utilizes ottava rima,6 the traditional stanza form of Italian narrative poetry, to recreate the story of two young innamorati, Florio and Biancoiore, as they labor to overcome obstacles to their love. I was, however, labbergasted at her extensive use of text-within-text technique in the selection that follows. The two letters between the lovers, inserted verbatim into the narrative frame, heighten the realism and the emotional charge of the exchange and allow for close reader involvement. Ariosto does not show a response letter from Bradamante.

Turini Bufalini, moreover, shows a response letter from Biancoiore comprising an additional fourteen stanzas nos. The two letters in Il Florio thus total an astonishing lines of text-within-text. Although Turini Bufalini may not have been the irst to employ the technique, we are nonetheless seeing in her Canto XVI an early and signiicant use of meta-narration.

On the one hand, I wanted my target language to capture the emotional spontaneity expressed in the letters of the young lovers. On the other hand, I vowed to keep faith with the formal metrics of the ottava and its elegant tone. The exciting atmo- sphere of a medieval tale—replete with chivalric knights, distressed damsels, court intrigues and feats of derring-do—demanded a broad action vocabulary. To parallel the hendecasyllabic lines of the original with stanzas that gallop forward, I charged ahead with iambic pentameter, the preferred meter of narrative verse in English.

To run the end-rhyme gauntlet, I relied on my anglophone steed, well equipped with slant rhyme, to echo the musical ring of the original when I did not have a full rhyme sound at the ready. To capture spontaneity, I reached for idiomatic expressions. Conversely, by inverting word order and pinning down a few archaisms here and there, I hoped to render some historical atmosphere and to move the translation closer to the source text.

To pay homage to the prosodic features of the original, I matched consonance and internal rhyme wherever I could. We come upon the scene with Florio in the distant city of Montorio, where he has been sent by his parents, the king and queen, in an effort to separate the lovers. Florio believes that Bian- coiore has jilted him for Fileno, an errant knight just arrived from Marmorina seat of the court where Biancoiore remains. The truth is that Biancoiore, against her will, was commanded by the queen to do so after Fileno won a tournament at court. Now alone, Florio denounces Biancoiore as unfaithful seeing the veil as proof of her betrayal , and threatens to turn his sword against himself.

Franc- esca Turini Bufalini, Autobiographical Poems: Translations by Joan E. Mancini and Glenn Palen Pierce Detroit: In sonnets numbered and , Turini Bufalini directly addresses the title character, Florio, of her eponymous narrative work, declaring to him that writing has remained her only consolation refugio through years of grief. Not quite twenty-one years old, she married Count Giulio Bufalini then seventy years of age. With professional military duties in Rome, Giulio was absent for long periods. She subsequently gave birth to two sons and a daughter but was widowed at age thirty.

Her maternal love and devotion, evident throughout her poems, is later coupled with the lament of not enjoying a reciprocal affection. Her sons, upon reaching manhood, quarreled with her over money and litigated formally against her and against one another, as Giulio, the eldest, would retain future right of inheritance to the castle, whereas Ottavio, his younger brother, only the right to reside there.

At age sixty-one, because of family discord, she left Umbria for Rome to take a post in the Colonna household as lady- in-waiting to the duchess, Lucrezia Tomacelli Colonna. She returned to Umbria only upon the death of Tomacelli in Directed by Antonio Lanza. This international journal is dedicated to texts and studies on Italian literature and is available for purchase on the internet.

For a discussion of the form, see: Casa Editrice Le Lettere, For a short synopsis of the Filocolo, see: Giovanni Boccaccio, Antologia delle opere minori volgari, a cura di Giuseppe Gigli. Nuova presentazione di Vittore Branca Firenze: Revered for his narrative poems, principally Gerusalemme Liberata pub. Turini Bufalini may have known Tasso personally during her residency in Rome at the Colonna household. My thanks go again to Professor Costa-Zalessow for indicating these passages to me. In Greek myth, the souls of the newly dead were required to drink from the waters of Lethe a river of Hades , which aided them to achieve complete forgetfulness of their mortal past before entering the underworld.

In Greek myth, the god of dreams who, as a son of Hyp- nos Sleep , assumes the form of humans when visiting mortals during sleep. He is often accompanied by his brothers Icelus who personiies beasts, birds, serpents and Phantasus who transforms himself into rocks, water, woods and inanimate objects along with 1, other male siblings in order to enact the dream.

O mio dolore intenso, smisurato! O me infelice sopra gli altri amanti! O senza alcuna colpa abbandonato! O mia dura sventura! Jealousy Canto XVI Oh wretched me, more so than other lovers! Oh guiltless, thrust aside upon no grounds!

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Oh thing yet unseen in this universe! Oh my hard luck! Then by such wrath, by such a frenzy grasped, since to his clamor Death turned a deaf ear , furious now, in hand his sword he clasped, her gift to him in times far happier: Throughout his dream rested the unsheathed sword that he had drawn to run through his own breast, such was the reasoning so twisted, crude, against himself, its harm to manifest. But like a shield, hope lent him fortitude. Without you I am good for naught, and neither would I live on: Io solo odio e disamo, per te, me stesso: Nothing can alter my desire—not fate, place, time, Fortune; neither can Love nor Death!

Oh stars, you witnesses of my hard plight, reveal how I so fail and furthermore may die of keeping faith to cruel degrees with those nocturnal trysts and mournful cries! I alone hate and eschew myself for you, though death I would receive! Ed ei risponde al domandar di quella: My right hand, poised for death to end my grief, clutches the sword.

Write as my obsequy: The hurt he felt so struck his heart, so rent, he thought his certain death drew very near. Within the paper, his complaints he folded and called a servant, one faithful and shrewd, In conidence to him, the prince reprised: Be there by dark, and seek out Biancoiore. Hand her this envelope and wait, and then with her response hurry back here again! Bending to the importance of the charge, the servant swiftly takes leave of his lord and gets there on the double, for his passage and pace with loyalty and trust he spurred.

Soon as the damsel spies the messenger, who of their love was entirely aware , she brightens, summons sweet words to inquire: From me, the reason for his pain is hidden, and why he leads a life so sorrow-laden. Soon as she learned of all he would infer in what he wrote and what he left untold , and of his indignation and his anger— that his heart was by Jealousy controlled— cold fear, martyring anguish to endure, gripped her at heart and instantly took hold.

Those pages would have burned from sighs so searing, had not her tears kept them from disappearing! Repeatedly between choked sobs and tears, having read what he wrote, and read again, seeing fault of lovers ingenuous! As long as breath and life in me be found, let not Love pierce me with another wound! As this, my soul, within my lesh so frail, is spoil to dart diverse. Love cannot slay my breast that loves and prizes you alone , lest with your beauty his darts he would hone.

To unravel our love she made provision and wove with craft, and perhaps proited. So cruel is she! By her I was betrayed, and by you, too, falling for traps she laid! Heaven well sees that when you sought your leave from me, my life turned hard, for I without a heart remained! You plucked it from my person when you abandoned me to pain, cruel one!

By calling me ungrateful you then ind aire anew a means to skirt my blame! Prendi pur qual tu vuoi dubbiosa strada: Mancar si sente in tal dolor la vita e la faccia ha tutta di pianto aspersa. Constant I know you; know, too, that a love constant for you does Biancoiore have! To live and die with you do I aspire!

Let not that crude steel blade to you lay claim and cover you with an eternal shame! Go follow any dubious path you will: So pained, she felt that life itself receded, her face wholly awash in tearful sprays. Her pages folded, she expertly brought together and entwined the wax and knot. Those crimson lips now parched from such distress, with her plentiful tears did she, the damsel, moisten the gem in order to impress her image, lovely, proud, upon the seal. Then, perturbed by an anger amorous, to carry back her answer does she call the messenger.

Devoted, bowing low, off like an arrow shot straight does he go. Ha pubblicato diversi romanzi, narrative di viaggi e racconti sia in italiano che in inglese, tra i quali Tiro al piccione , ristampa , Peccato originale , Biglietto di terza , ristampa , Una posizione sociale , ristampa col titolo La stanza grande, , Grafiti , Molise Molise , Il tempo nascosto tra le righe , Detroit Blues , e i romanzi in inglese Benedetta in Guysterland , premio American Book Award, , Accademia , Il paese di Nonsisadove - romanzo telematico, websito arscomica.

Non ne capii molto, ma tre parole strane, belle, incomprensibili mi affascinarono: Leo Spitzer, Martin de Riquer, T. Bergin, Salvatore Battaglia e, ultimamente, Robert Lafont. Il Lafont, che basa il suo studio sul testo manoscritto C della Biblioteca Nazionale di Parigi, che io seguo, ne fa una panoramica: Die Melodien der Troubadours. Fernandez de la Cuesta, Ismael. New Haven and London, Studi in onore di Angelo Monteverdi. La lingua dei trovatori.

In Praise of Love. Van der Werf, Hendrik. Et ella lo fetz a gran honor sepeillir en la maison del Temple; e poi en aqel dia ella se rendet monga, per la dolor qe ella ac de la soa mort. A cura di Robert Lafont. Casa Editrice Le Let- tere, Firenze , p. Io mi avvalgo per convalida e guida del Vo- cabolario ragionato del dialetto di Casacalenda, di Antonio Vincelli, Edizioni Enne, Campobasso, Her compendium, On Prejudice: Also a novelist and literary critic, she founded and directs the only poetry prize for bilingual book publication for Italian American poets with Italian poet, Alfredo dePalchi.

Ned Condini is a native-born Italian who has lived in the United States for many years, a fact that makes him thoroughly bi-lingual. After all, it is a plant and I do love greenery. Other plants wait for death to give lesh to roots. I resolve to become a vegetarian.

But this Venus Fly Trap is too much for me. It will have to die tossed into the waste can with the bright red lipstick, the blood red nail polish. I no longer wear. She nods at us knowing we are lovers returning from paradise. Ho cercato di ricordare di darle acqua.

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Altre piante aspettano che la morte dia polpa alle radici. Propendo a farmi vegetariana. Questa dionea non fotosintetizza in pace. Sta cercando di diventare un animale e io che cerco tanto di essere un albero non lo sopporto. Ci accenna sapendo che siamo amanti che tornano dal paradiso. Each falls asleep and wakes alone in a dream on a cold shore far from home, without shelter from wind, sun dark, cold, heat. I feel as a tiny breathing thing alone in a vast night no hand anywhere to hold mine. We wake into life sure of dying under the frozen sky and mute stars, glistening with winter light.

We hold hands into new [years, knowing all new years turn old, and listen to the night, snow creaking in mounds, and the air iced from the [Northwind For the sake of the other, we do not say how each together is alone returning from paradise. Ciascuno si addormenta e si sveglia solo in sogno su una spiaggia fredda lontano da casa, senza riparo da vento, sole, buio, freddo, calore. Mi sento un minuscolo oggetto che respira solo in una notte [immensa da nessuna parte una mano a tenere la mia.

Ci destiamo alla vita sicuri di morire sotto il gelido cielo e stelle mute, che brillano di luce invernale. A few bleeding leaves fall amidst wilting greenery. Poison ivy turns red with warning. My ninety-year-old mother still argues with my father, twenty years dead.

Their hatred reverberates in a back room of my head, rattling recollections of a lonely childhood. Their loathing for each other colors all my days. I loved him, because he loved me best, but I look like her. My face and spirit tear at each other. I am the child of hate. A weed sprouts from watery depths, uncultivated, lowers, white and purple, bloom, even in these days of dying leaves.

Beyond winter, no one grieves. Italy, — d. America, ] written in Edna St. You died in spring, father, and now the autumn dies. Bright with ripe youth, dulled by time, plums of feeling leaked red juices from your eyes, blood hemorrhaged in pools to still your quivering mind. Alcune foglie sanguinanti cadono sul verde che langue. Il loro reciproco disgusto colora tutti i miei giorni. Il mio volto e il mio spirito fanno a pugni.

Sonetti americani per mio padre —per Donato Giosefi: Vincent Millay Steepletop, N. Vivido di compiuta giovinezza, opacato dal tempo, prugne di affetto gocciavano dai tuoi occhi rosse essenze, sangue emorragiato in polle a calmare la tua trepida mente. In this russet November woods of Millay, I wear your old hat, Dear Italian patriarch, to see if I can think you out of your American grave to sing your unwritten song with me. I carry your silenced poetry with your spirit. I take off your old black hat and sniff at it to smell the still living vapor of your sweat.

You wore your heart and soles sore. At forty, not climbing autumn hills like me, you lay with lung [disease strapped down with morphine, hearing your breath rattle in your throat like keys at the gates of hell. Your body was always a iend perplexing your mascu [line will. You illed me with pride, and immigrant tenacity. You are done, unfulilled by song [except in me. If your dreams are mine, live again, breathe in me and [be.

In questi boschi di Millay, novembrini, rugginosi, sfoggio il tuo vecchio cappello, caro patriarca Italiano, per vedere se posso pensarti fuori della tua tomba americana a cantare con me la tua mai scritta canzone. Col tuo spirito reco la tua poesia fatta muta. Mi tolgo il tuo vecchio cappello e lo annuso per odorare il sudore che esala, ancora vivo. Lavoravi come un mulo, il maggiore di troppi igli, un [magrolino in zuava frusta che negli Anni Ruggenti zoppicava su per i gradini della city, di porta in porta con carichi di giornali del mattino e serali, ciascuno contato un misero soldo sudato per mantenere la famiglia.

Ti logorasti il cuore e le suole. Il tuo corpo fu sempre un briccone impastoiante il tuo [volere di maschio. Mi riempisti di orgoglio e tenacia di immigrante. Hai concluso, adempiuto nel canto [solo in me. Se i tuoi sogni sono miei, vivi di nuovo, respira e esisti in [me. Tu non capisti mai la trama americana. Good night, go gently, tired immigrant father full of pride and propriety. We, your three daughters, all grew to be healthier, stronger, more American than you. The wound that will not heal in me is the ache of dead sensibility. Once full of history, philosophy, poetry, physics, astronomy, your bright, high-lying psyche is now dispersed, set free from your tormented body, but the theme you offered, often forlorn, sheer luminescent soul, glistened with enough light to carry us all full-grown.

The sky was falling. When they laughed, I learned I had a pen for a tongue that could please. Buona notte, viaggia remissivo, stanco padre immigrante pieno di correttezza e orgoglio. Autobiograia incompiuta per mia iglia scritta nel , durante la prima Guerra del Golfo Nacqui nel Il cielo stava precipitando. Dio benedica la pasta! Quando risero seppi che per lingua avevo una penna che dava piacere.

Are you wearing one? Twenty and virginal when raped one midnight in a jail cell by an angry Klansman, Deputy Sheriff of Montgomery County, Alabama—only law for miles around Selma. Ebreo, Polacco, Romania, omosessuale Ventenne e vergine fui stuprata una mezzanotte in una cella di prigione da un rabido Klansman, il vice sceriffo della Contea Montgomery, Alabama—unica legge per miglia nei dintorni di Selma.

My greatest moment of joy came in a near death—not when jailed by the Klans- man, but when giving birth to you who came by emergency Cesarean, bright with hope, lovely daughter; do you hear the ambulance of guilt, grieving in your near death birth, the re- birth of your mother, your moment of almost not being new life greeting me in your eyes, my eyes peering back at me, questioning, after the fever [subsided.

Are they yours, Daughter? I edit a book, On Prejudice: A Global Perspective, of xenophobia, ethnocentrism, sexism, racism, and hate the nuclear and oil barons who are your enemy. We cannot love without enemies who bond us together in love—Freud said— unless we see that avarice pours our own garbage and debris back upon us— Smothering us with mutual enemy. Our oil, nuclear, chemical, and germ warfare proiteers hold us all hostage, you, me, and them, to the screams of skulls with their forever gold teeth, lampshades of skin, their ears are ours illed with a siren of guilt from the history book of corpses.

It talks to autumn, Daughter. Its splendor makes us sing. Un sottile ilo di vita goccia sulla pagina mentre i miei occhi diventano gli occhi di un altro: Sono i tuoi, Figlia? Metto insieme un libro, Sul Pregiudizio: Una Prospettiva [Globale, di xenofobia, etnocentrismo, sexismo, razzismo, e odio i baroni nucleari e del petrolio che sono i tuoi nemici. Il suo splendore ci fa cantare. Only middle age girth makes me look maternal.

Menopause has left not one kernel of hope in my old ovaries. Oggi, non vengo o spero di divenire incinta, nessun bimbetto scalpicciante in arrivo. La menopausa non ha lasciato un briciolo di speranza nelle mie vecchie ovaie. It, too, possesses a navel for seeing the world through the skin, has rounded buttocks, good to place against the hand the way earth reminds lesh of its being. Through the eye of the needle, death is a country where people wonder and worry what it is like to live.

The sullen wish to live and live soon, to be done with death and the happy want to stay dead forever wondering: Near Bari and Brindisi where the ferry has travelled the Adriatico, to and from Greece for centuries. Il cupo desiderio di vivere e vivere presto, di farla inita con la morte e la voglia appagata di stare morti per sempre chiedendoci: How strange to view you, piccolo villaggio, with ladybugs, my talisman, landed on my shirt. Ladybugs rest on me at the dig of stone sculptures the Belgian professor shows me. You never returned to your ancient land where now the [natives, simpatici pisani, wine and dine me in their best ristorante.

I insist on paying the bill. They give me jars of funghi and pimento preserved in olive oil—their prize produce to take back home with me. They nod knowingly, when in talking of you, I must leave the table to weep— alone in the restroom, looking into the mirror at the eyes you gave me, the hands so like yours that turn the brass faucet and splash cold water over my face.

For an instant, in this foreign place, I have met you again, Father, and have understood better, your labors, your struggle, your pride, your humility, the peasantry from which you came to cross the wide sea, to make me a poet of New York City. Which is truly my home? Mi mostrano il tuo certiicato di nascita— Donato Giosefi, nato nel — scarabocchiato a penna, su carta che ingiallisce. Quando gli dico che sono una scrittrice, prima della [famiglia americana a ritornare alla casa paterna, di colpo sono nobile!

Coccinelle riposano su di me allo scavo di sculture in pietra che il professore belga mi mostra.