http://hdl.handle.net/10023/109 Thu, 23 May 2013 08:21:16 GMT 2013-05-23T08:21:16Z http://hdl.handle.net/10023/3541 Wed, 01 Sep 2010 00:00:00 GMT http://hdl.handle.net/10023/3541 2010-09-01T00:00:00Z Riccobono, Rossella Maria http://hdl.handle.net/10023/3522 Abstract: This article demonstates that the earliest body of Italianisms in English, in the sixteenth and early seventeenth centuries, was in large measure of Venetian origin. After establishing and dating the fifty Venetianisms that entered English in this period the study goes on to analyse Venetian lexical influence in John Florio's Italian-English dictionaries (1598 and 1611), in Thomas Coryate's travel book (the "Crudities") (1611) and in Ben Jonson's play "Volpone" (1607) set in Venice. Mon, 26 Nov 2012 00:00:00 GMT http://hdl.handle.net/10023/3522 2012-11-26T00:00:00Z Ferguson, Ronnie This article demonstates that the earliest body of Italianisms in English, in the sixteenth and early seventeenth centuries, was in large measure of Venetian origin. After establishing and dating the fifty Venetianisms that entered English in this period the study goes on to analyse Venetian lexical influence in John Florio's Italian-English dictionaries (1598 and 1611), in Thomas Coryate's travel book (the "Crudities") (1611) and in Ben Jonson's play "Volpone" (1607) set in Venice. http://hdl.handle.net/10023/3521 Abstract: Interpretations of Italian films about migration tend to refer to the historical experience of emigration or of colonialism as the historical coordinates through which these films are best understood. This article looks at four recent films featuring migrants in prominent roles that appear to elide such an interpretive framework. While the past and its intrusive effects do feature strongly in these films, it is difficult to produce a predictable linear and causal narrative that would link past, present, and future in predictable ways. Stylistically, the four films also represent a notable move away from the realist political agenda and aesthetic that has tended to dominate Italian film production on the topic of migration. This article argues that their adoption of the features that recall those of film noir (in its Italian manifestation) suggests a new range of thematic and social concerns that refer as much to possible futures as well as known pasts. There is a particular focus on the topic of bodily reproduction which is no longer limited to the sphere of the sexual. The opportunities offered by technology for the body to reproduce in new ways alters the parameters of how the nation might be imagined. Sat, 01 Jan 2011 00:00:00 GMT http://hdl.handle.net/10023/3521 2011-01-01T00:00:00Z Duncan, Derek Egerton Interpretations of Italian films about migration tend to refer to the historical experience of emigration or of colonialism as the historical coordinates through which these films are best understood. This article looks at four recent films featuring migrants in prominent roles that appear to elide such an interpretive framework. While the past and its intrusive effects do feature strongly in these films, it is difficult to produce a predictable linear and causal narrative that would link past, present, and future in predictable ways. Stylistically, the four films also represent a notable move away from the realist political agenda and aesthetic that has tended to dominate Italian film production on the topic of migration. This article argues that their adoption of the features that recall those of film noir (in its Italian manifestation) suggests a new range of thematic and social concerns that refer as much to possible futures as well as known pasts. There is a particular focus on the topic of bodily reproduction which is no longer limited to the sphere of the sexual. The opportunities offered by technology for the body to reproduce in new ways alters the parameters of how the nation might be imagined.