It is a sultry August at the very end of the twentieth century, and Tristano is dying. A hero of the Italian Resistance, Tristano has called a writer to his bedside to listen to his life story, though, really, “you don’t tell a life…you live a life, and while you’re living it, it’s already lost, has slipped away.” Tristano Dies, one of Antonio Tabucchi’s major novels, is a vibrant consideration of love, war, devotion, betrayal, and the instability of the past, of storytelling, and what it means to be a hero.
This book discusses issues of broad cultural consequence by examining the work of three of Italy's most prominent living novelists, Umberto Eco, Vincenzo Consolo, and Antonio Tabucchi. The introductory chapter continues a discussion of some of the topics already broached in the author's Narrating Postmodern Time and Space (1997). It uses an approach that is both historicist and psychoanalytic to critically address topics in cultural studies and Italian studies. The book deals with fictions of very recent publication, many of which have been published after the turn of the millennium, filling important gaps in the critical bibliography. Close readings relate texts to their historical and cultural contexts, critiquing their ideology while preserving their Utopian moments.
It is a sultry August at the very end of the twentieth century, and Tristano is dying. A hero of the Italian Resistance, Tristano has called a writer to his bedside to listen to his life story, though, really, “you don’t tell a life…you live a life, and while you’re living it, it’s already lost, has slipped away.” Tristano Dies, one of Antonio Tabucchi’s major novels, is a vibrant consideration of love, war, devotion, betrayal, and the instability of the past, of storytelling, and what it means to be a hero.
The book tackles the challenging theme of death as seen through the lens of literature and its connections with history, the visual arts, anthropology, philosophy and other fields in humanities. It searches for answers to three questions: what can we know about death; how is death socialised; and how and for which purposes is death aesthetically shaped? Unlike many other publications, the volume does not endorse the fallacy of over-simplifying death by seeing it either in an exclusively positive light or by reducing it to a purely literary figure. Using literature’s potential to stimulate critical thinking, many contemporary stereotypical configurations of death and dying are debunked, and many hitherto unforeseen ways in which death functions as a complex trigger of meaning-making are revealed. The book proves that death is an inexhaustible source of meanings which should be understood as peremptorily plural, discontinuous, problematic, competitive, and often conflictual. It offers original contributions to the field of death studies and also to literary and cultural studies.
First published in 1996. Now updated with a new information-packed 40-page Supplement covering the years 1990-1995, this unique Encyclopedia highlights the World of King Arthur from its origins in Dark Age Britain to the present day, when Arthurian novels, films, and music continue to appear around the world at an astonishing rate. The Supplement, which provides five full years of coverage not available anywhere else, enhances the usefulness of more than 1,300 entries on all aspects of the Arthurian legend-in literature, history, folklore, archaeology, art, and music. Written by an international team of over 130 authorities, no other work approaches this A-Z guide to the legends of King Arthur and his knights of the Round Table for breadth and depth of coverage. This is the ultimate source for reliable information on topics as diverse as the Grail, Tristan and Isolde, Lancelot and Guenevere, Arthurian operas, the historicity of Arthur, and more.
With intense and violent portrayals of death becoming ever more common on television and in cinema and the growth of death-centric movies, series, texts, songs, and video clips attracting a wide and enthusiastic global reception, we might well ask whether death has ceased to be a taboo. What makes thanatic themes so desirable in popular culture? Do representations of the macabre and gore perpetuate or sublimate violent desires? Has contemporary popular culture removed our unease with death? Can social media help us cope with our mortality, or can music and art present death as an aesthetic phenomenon? This volume adopts an interdisciplinary approach to the discussion of the social, cultural, aesthetic, and theoretical aspects of the ways in which popular culture understands, represents, and manages death, bringing together contributions from around the world focused on television, cinema, popular literature, social media and the internet, art, music, and advertising.
Few if any writers have made a mark as broad and deep as Ernest Hemingway, whose life and work—and even image—continue to permeate American culture more than a half-century after his death in 1961. And never has there been a chronology of the writer’s life and times as comprehensive, detailed, and useful as The Hemingway Log. For more than a dozen years, Brewster Chamberlin “has been compiling and wonderfully annotating and continuously updating what amounts to almost a daybook calendar of Hemingway’s life,” as author Paul Hendrickson noted in his acclaimed Hemingway’s Boat: Everything He Loved in Life, and Lost. At long last available to readers and scholars, this chronology extends from the birth of Mark Twain (whose Huckleberry Finn, Hemingway said, was the source of all modern American literature) to the 2013 publication of the second volume (of a projected seventeen) of the Hemingway letters. Throughout, the events and dates that had any influence whatsoever on the writer are detailed day by day. Who won the Nobel Prize in literature each year, for instance, or the Pulitzer? What works of poetry, fiction, or drama were published? What was happening in the world and in the country, and how did it relate to Hemingway? Within this clarifying context, the chronological facts of the writer’s own life and work unfold: literary production and publishing; travels and households; activities and relevant occurrences; relations with family, friends, lovers, and enemies. Drawing on biographies, memoirs, and various Hemingway collections and websites, as well as the full range of original sources such as letters, fishing logs, notebooks, and manuscripts, The Hemingway Log presents the most extensive and accurate chronology of Hemingway’s life and times—and in the process clears up many of the inconsistencies and factual errors that riddle accounts of the writer’s life and work. Any future scholar of Hemingway will find the book not just invaluable but absolutely necessary, and any serious reader of Hemingway will find it irresistible.
Providing the most complete record possible of texts by Italian writers active after 1900, this annotated bibliography covers over 4,800 distinct editions of writings by some 1,700 Italian authors. Many entries are accompanied by useful notes that provide information on the authors, works, translators, and the reception of the translations. This book includes the works of Pirandello, Calvino, Eco, and more recently, Andrea Camilleri and Valerio Manfredi. Together with Robin Healey's Italian Literature before 1900 in English Translation, also published by University of Toronto Press in 2011, this volume makes comprehensive information on translations from Italian accessible for schools, libraries, and those interested in comparative literature.
