Nico Santini was a staggeringly successfulchildren's heart surgeon—rich, handsomeand brilliant. Who wouldn't want himto father her child?Nurse Abby Harrington didn't! She was horrifiedwhen Nico announced he was the father of herdaughter, born by donor insemination. Especiallybecause Nico was now unable to have children.Baby Rosa was his last chance to be a father—and Nico demanded marriage!
From top surgeon... To single dad? Before nurse Elene Lowe’s best friend died, Elene agreed to raise her baby daughter, Aimee, and is now traveling to Italy to find Aimee’s dad—sexy surgeon Mattia Ricco. Mattia is shocked to discover he’s a father, but the sparks flying between him and Elene soon ignite an irresistible attraction. With Elene and Aimee’s life back in New Zealand, they’re worlds apart, unless Mattia can give them both a reason to stay. “Ms. Mackay has delivered a superb medical romance in this book about healing and family; and where the chemistry between this couple was strong from the moment they met....” — Harlequin Junkie on Surprise Twins for the Surgeon “Ms. Mackay writes some really good medical romances and this story was such an interesting and riveting read....” — Harlequin Junkie on Baby Miracle in the ER
The power exercised by the mother on the son in Mediterranean cultures has been amply studied. Italy is a special case in the Modern Era and the phenomenon of Mammismo italiano is indeed well known. Scholars have traced this obsession with the mother figure to the Catholic cult of the Virgin Mary, but in fact, it is more ancient. What has not been adequately addressed however, is how Mammismo italiano has been manifested in complex ways in various modern artistic forms. Portrait of the Artist and His Mother in Twentieth-Century Italian Culture focuses on case studies of five prominent creative personalities, representing different, sometimes overlapping artistic genres (Luigi Pirandello, Pier Paolo Pasolini, Dino Buzzati, Carlo Levi, Federico Fellini). The author examines how the mother-son relationship not only affected, but actually shaped their work. Although the analysis uses mainly a psychological and psychoanalytical critical approach, the belief of the author, substantiated by historians, anthropologists and sociologists, is that historical and cultural conditions contributed to and reinforced the Italian character. This book concludes with an analysis of some examples of Italian film comedies, such as Fellini's and Monicelli's where mammismo/vitellonismo is treated with a lighter tone and a pointed self irony.
This book starts from the premise that emigration is a crucial concept for the understanding of recent development in criticism and literature. For only when the contribution of non-indigenous ethnicities is taken into account such other key phenomena as globalisation and multiculturalism or -- in some parts of the world -- colonialism or post-colonialism appear in full. The essays in this collection trace the presence of an Italian heritage in the literature of the United States, Canada, Australia, Germany, and ponder the consequences. While some articles describe the texts or review the history of the literature produced by authors of Italian origin, others address the theoretical implications or situate the discussion about authors and their works within the current critical debate. The result is a volume at once informative and intellectually challenging.
In 1918 , a one-month stint with the American Red Cross ambulance corps at the Italian front marked the beginning of Ernest Hemingway’s fascination with Italy—a place second only to Upper Michigan in stimulating his lifelong passion for geography and local expertise. Hemingway’s Italy offers a thorough reassessment of Italy’s importance in the author’s life and work during World War I and the 1920s, when he emerged as a promising young writer, and during his maturity in the late 1940s and early 1950s. This collection of eighteen essays presents a broad view of Hemingway’s personal and literary response to Italy. The contributors, some of the most distinguished Hemingway scholars, incorporate new biographical and historical information as well as critical approaches ranging from formalist and structuralist theory to cultural and interdisciplinary explorations. Included are discussions of Italy’s psychological functioning in Hemingway’s life, the author’s correspondence with his father during the writing of A Farewell to Arms, his stylistic experimentation and characterization in that novel, his juxtaposition of the themes of love and war, and his take on Fascism in both his fiction and journalistic work. In addition, the essayists explore relevant contexts of period and place—such as the rise of Fascism, ethnic attitudes, and the cultural currents between Italy and the United States. A landmark study, Hemingway’s Italy brings long-overdue attention to this great writer’s international role as cultural ambassador. Contributors : Rena Sanderson, Nancy R. Comley, Kim Moreland, Steven Florczyk, Kirk Curnutt, Lawrence H. Martin, John Robert Bittner, Jeffrey A. Schwarz, J. Gerald Kennedy, H. R. Stoneback, Beverly Taylor, Ellen Andrews Knodt, Linda Wagner-Martin, Robert E. Fleming, Miriam B. Mandel, Joseph M. Flora, Margaret O’Shaughnessey, Stephen L. Tanner, Vita Fortunati
David and Goliath is set in Denmark and deals with the power of money over men. The President, set in France, is ironical in tone and revolves around a lottery and, once again, the power of money. The Flight to Venice was written at the height of the Expressionist movement in 1922, and is one of the principal plays of the period. One Day in October is highly complex, using nineteenth-century French literary personalities to make points about literary creation and the relationship between art and life. The final play, The Raft of the Medusa, takes its title from Gericault's painting, and concerns the regeneration of man overlaid with the pessimism of the European struggle.
