elisa bizzotto

Starting from the limited autobiographical and critical material available, as well as using the semi-fictional memories in the novel Miss Brown, my essay investigates the personal and creative relationship between Vernon Lee and Oscar Wilde, two central figures of the Aesthetic Movement. Lee and Wilde met in 1881, during Lee\u2019s first visit to England. Between these similar personalities a mixture of rivalry, mutual admiration and understanding soon arose. Lee immortalized that encounter in her letters and in the controversial roman \ue0 clef Miss Brown (1884), which annoyed many of her contemporaries, Wilde among them. Consequently, the two writers met on few other occasions, one of which in 1894 at il Palmerino, where Wilde accompanied Mary Costelloe (later Mrs Berenson) in the hope of seeing Lee\u2019s brother, the poet Eugene Lee-Hamilton. With Wilde\u2019s arrest in 1895 they lost contacts, nor did they meet after his release from prison, although it is possible to conjectu...

... p. cm.—(The Athlone critical traditions series) Includes bibliographical references and index. ... Introduction Stephen Bann Italian 1 'The sterile ascetic of beauty': Pater and the Italian fin de siécle Benedetta Bini 2 The Fortune of The Renaissance in Italian Art Criticism, 1894-1944 ...

Functionalization of the genome is carried out by proteins that bind to DNA to regulate gene expression. Since this process is highly dynamic, context-dependent, and rarely performed by single proteins alone, we here describe ChIP-SICAP to identify proteins that co-localize with a protein of interest on the genome. Benefiting from its nature as a dual purification approach via ChIP and DNA biotinylation, ChIP-SICAP distinguishes genuine chromatin-binders and is uniquely placed to identify novel players in genome regulation.

Il volume raccoglie i contributi del II Convegno Internazionale dei Dottorandi del Dipartimento di Filosofia e Beni Culturali dell’Università Ca’ Foscari Venezia e dello State Institute for Art Studies di Mosca Taking and Denying: Challenging Canons in Arts and Philosophy (23-25 settembre 2020). Сборник включает материалы II Международной Конференции аспирантов Департамента Философии и Культурного Наследия Университета Ка’ Фоскари в Венеции и Государственного Института Искусствознания в Москве Taking and Denying: Challenging Canons in Arts and Philosophy (23-25 сентября 2020). The volume includes papers presented at the II International Conference of PhD students of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice and the State Institute for Art Studies in Moscow Taking and Denying: Challenging Canons in Arts and Philosophy (23-25 September 2020). Taking and Denying Challenging Canons in Arts and Philosophy edited by Giovanni Argan, Maria Redael...

Mario Praz: Voice Centre Stage is the first collection of essays in English on Italian writer Mario Praz (1896-1982), a central figure of twentieth-century culture and international literary relations. Praz's formidable oeuvre spanned six decades and covered such topics as comparative literature, interior design, history of art and culture, collecting, interart and intermedial studies, translation, journalism, travelling and autobiography. His colossal erudition encompassed an enthusiasm for the eccentric, the interstitial, the erotic and the macabre. This book, based on pluri- and interdisciplinary critical approaches by a variety of specialists, sheds ample light on an author who still awaits full appreciation as a unique cross-cultural ?voice inside the scene' of literature and art.

... Mary Ann Frese Witt. North Carolina State University. -1-. Read more than 5,000 classic books FREE! ... Questia, a part of Gale, Cengage Learning © Copyright 2011. All rights reserved. All service marks and trademarks are property of Cengage Learning and its affiliates. ...

Strumenti critici Rivista quadrimestrale di cultura e critica letteraria ISSN : 0039-2618. Numero: 3, settembre 2005, Indice. DOI: 10.1419/20509. Riflessi dell'estetismo e suggestioni pateriane nell'opera di Pascoli Elisa Bizzotto, pp. ...

Given their love for Italy, which often represented for them a second home country, it was not unusual for late-Victorian writers and intellectuals to have direct experiences with Italian laws. The article presents four “case studies” of late-Victorian authors living in Italy and analyses their reactions to such diverse issues as homosexuality, madness and artistic heritage in relation to the Italian law system and by providing a comparative perspective with English legislation. The contribution also considers these authors’ narratives of their responses to Italian laws in both published and private writings that cover a variety of genres and evidence cultural differences and conflicts, though not always in an expected way.

‘Decadent Pedagogies: teaching literary decadence in transcultural contexts’ is a collaborative project amongst colleagues from across the UK and Europe which will address the challenges associated with teaching decadent texts and artistic works. ‘Decadent Pedagogies’ will bring together researchers and teachers from across Europe to define best pedagogical practice, identify funding streams to support the development of new resources, and explore the possibility of similar resources in print and in digital form.

As a well-known English writer living in Italy, though cosmopolitan by education, Vernon Lee (1856-1935) enjoyed a transnational celebrity status that enabled her to participate in many contemporary discourses. Brilliant and assertive, she became well-connected within European circles of artists and intellectuals and was perceived as exceptional, especially from the perspective of turn-of-the-century Italian culture, in which women seldom made their voices publicly heard. In Italy in particular, she stood out not only for her international affiliations, but also as an eccentric blue-stocking who discussed current topics of debate with important establishment figures. Lee exploited the public recognition she enjoyed for the purpose of campaigning against, or in favour of, certain issues. In 1897, for instance, she wrote letters to newspapers to lament the planned demolition of the medieval centre of Florence. Although familiar to Lee’s culture of origin since the eighteenth century, the ‘letter to the editor’ was an unusual form of protest in Italy which she successfully adapted to local needs and circumstances. This social activism firmly established her as a voice of protest and placed her in the limelight in her chosen country of residence. During and after WW1, when she left Italy for England, Lee employed analogous forms of literary activism to support global pacifist campaigns. My paper will consider how and how effectively these later texts took up Lee’s previous strategies of socio-political commitment, empowered through her celebrity status, and spread them beyond Italy.

Mario Praz: Voice Centre Stage is the first collection of essays in English on Italian writer Mario Praz (1896-1982), a central figure of twentieth-century culture and international literary relations. Praz’s formidable oeuvre spanned six decades and covered such topics as comparative literature, interior design, history of art and culture, collecting, interart and intermedial studies, translation, journalism, travelling and autobiography. His colossal erudition encompassed an enthusiasm for the eccentric, the interstitial, the erotic and the macabre.

This book, based on pluri- and interdisciplinary critical approaches by a variety of specialists, sheds ample light on an author who still awaits full appreciation as a unique cross-cultural ‘voice inside the scene’ of literature and art.

nell'ambito della giornata Sustainability and the Humanities 9.15 saluti istituzionali, Benno Albrecht rettore Iuav, Piercarlo Romagnoni direttore del Dipartimento di Culture del progetto, Giuseppe D'Acunto direttore della didattica Iuav, Francesco Musco direttore della ricerca Iuav 9.45 discorso d'apertura, Alberto Ferlenga presidente Fondazione Iuav 10.15 keynote lecture, Dennis Denisoff dibattito a cura di Elisa Bizzotto referente per la biblioteca d'ateneo 11.45 tavola rotonda su Sustainability and the Humanities, con interventi di

Reviews 161 Elisa Bizzotto and Stefano Evangelista, eds, Arthur Symons: Poet, Critic, Vagabond, Studies in Comparative Literature, 44 (Cambridge: Legenda, 2018). 208 pp., ISBN 9781781884973, £75 (hardback), £9.99 (paperback). Arthur Symons might be best known as a poet, but I'll wager he has been most cited as an essayist. It is one essay in particular that gives him this purchase within literary history: his influential, and still profoundly interesting, if uneven, 'The Decadent Movement in Literature'. Yet he wrote countless other essays, and produced far more prose than poetry-most of it now almost never read. Reading Symons's essays is a disconcerting experience: much of the prose is derivative and meandering, but then all of a sudden a flash of brilliance, a thing captured or conceptualized in a unique and original way is striking enough to make the reader (this reader, at least) go back over the previous few pages to check that a weary eye and brain have not been responsible for the apparent dullness of the preceding prose. After all, how was the writer capable of this insight also capable of that? Unlike so many of the aesthetes and Decadents, whose counter-culture was supported by a private income, Symons was a jobbing writer, paying his rent through his work. The results were, as stated by the editors of this book, patchy. Yet it is the re-engagement with a large corpus of Symons's prose that emerges from this study as a particularly valuable contribution. What has long been needed has now been provided: an exploration of some of the expansive prose which can both flag up where the treasure is buried and also, more importantly, help work out what to do with Symons (a writer prone to petty posturing misogyny, among other things) in our current scholarly era. In short, then, a book devoted to the work of Arthur Symons is timely and much needed; and this carefully fashioned and integrated collection of essays offers an excellent response to that need. The recovery and exploration of the women writers of aestheticism and Decadence has been underway for some time, and the clear benefits of that work have made apparent the need to return also to the 'minor' male figures of the period in relation to current scholarly concerns. While Symons is hardly a figure unknown or forgotten, the foundational work from the 1960s and 70s brought very different frames of reference to those we have now, and our sense of the possibility of his work needs updating. This book finds an ideal way to do just that by presenting to us a 'networked Symons'

is a key figure within the cultures of aestheticism and decadence, and his literary legacy reverberates throughout the twentieth century and beyond. His works engage with such diverse fields as art history, aesthetics and philosophy, religion and spirituality, sexuality and desire, education, and cultural heritage. In the twenty-first century, Pater remains one of the most studied authors of the English and international fin de siècle, and the ongoing Oxford University Press edition of his Collected Works opens up new perspectives on his writings. This conference of the International Walter Pater Society takes its cue from the subtitle of Pater's novel Marius the Epicurean (1885), which refers to the protagonist's "sensations and ideas." Considering Pater and aestheticism from the perspective of "sensations" brings out the productive overlap between literature and contemporary discourses on aesthetics, perception, emotions, and psychology. The perspective of "ideas" emphasises processes of abstract thinking, their cultural legacies, and their mechanisms of dissemination. Considering "sensations and ideas" together shines a light on the ways in which the two modes potentially compete with and/or complement one another, producing new insights. The conference aims to foster new critical debate on the subject of "sensations and ideas," broadly conceived, with reference to Pater and aestheticism.

is article discusses my recent Italian translation (2022) of George Bernard Shaw's first play, Widowers' Houses (1892), mainly by considering the concept of the cultureme. Culturemes, which are semantic units that exemplify and serve as paradigms of certain cultures, have been employed in translation studies in recent years to see how, and even if, culture-specific concepts can be translated. Culturemes are here seen in the light of the transculturality of decadent poetics, and hence interpreted as possible facilitators in the translation into Italian of Widowers' Houses, a play written in the decadent period, and developing many features of decadent poetics, whose author utilised key transcultural concepts of the period. Viewing Shaw's text from the perspective of such decadent culturemes as the slums, Cockney English and other decadent sociolects, and the decadent hero, together with the New Woman, not only substantiate the idea of Shaw as a decadent artist, but also suggest possible translation practices and processes for decadent literature.

The essay traces the influence of Medieval vernacular drama in the British culture of the fin de siècle and early twentieth century. In particular, it argues that Oscar Wilde’s plays Salomé (1891) and the unfinished La Sainte Courtisane (1893), as well as the short story The Portrait of Mr. W. H. (1889, 1893), bear traces of the revival of Medieval theatre that began in France in the 1890s and subsequently disseminated in other European countries. In England, this revival had an unexpected champion in Walter Pater and most probably reached Wilde also through him. Wilde, and others such as Vernon Lee, delved into both Pater’s vision of the Middle Ages and into Medieval ritualistic and participatory performances in order to craft dramas better suited to the turn of the century, with their radical epistemological transformations. Wilde, Lee, and other authors did so within a network of transcultural aesthetic exchanges which – especially in Wilde’s case generated works that can be construed as examples of world literature.

The essay traces the influence of Medieval vernacular drama in the British culture of the fin de siècle and early twentieth century. In particular, it argues that Oscar Wilde’s plays Salomé (1891) and the unfinished La Sainte Courtisane (1893), as well as the short story The Portrait of Mr. W. H. (1889, 1893), bear traces of the revival of Medieval theatre that began in France in the 1890s and subsequently disseminated in other European countries. In England, this revival had an unexpected champion in Walter Pater and most probably reached Wilde also through him. Wilde, and other of his contemporaries such as Vernon Lee, delved into both Pater’s vision of the Middle Ages and into Medieval ritualistic and participatory performances in order to craft dramas that would better suit the turn of the century and the immediately following years, with their radical epistemological transformations. Wilde, Lee, and other authors did so within a network of transcultural aesthetic exchanges which – especially in Wilde’s case - generated works that can be construed as examples of world literature.