scholarly journals Ruggero Jacobbi alla radio

2008 ◽  
Keyword(s):  
Twentieth Century ◽  
Literary History ◽  
Private Life ◽  
Recent History ◽  
Music Literature ◽  
Writer's Voice ◽  
The Voice

Recent years have seen the publication of a great deal of the work of Ruggero Jacobbi, a legendary figure of Italian twentieth-century culture, thanks to a praiseworthy retrieval of unpublished material conserved in the «A. Bonsanti» contemporary archive of the Gabinetto «G.P. Vieusseux». However, despite so many new pages of poetry and translation, what was still lacking was the writer's voice. The voice which, thanks to the painstaking work of Eleonora Pancani, we can now read (if not hear), as with characteristic dexterity it intermingles verses and music, literature and theatre, politics and entertainment. Ruggero Jacobbi alla radio presents the transcription of several radio programmes of the 70s featuring the genial culture of this multi-faceted intellectual. Jacobbi entertains his audience, discorsing on literary history, the figurative arts and opera, quoting poetry, discussing plays, mingling observations on Goldoni, Pirandello, Bontempelli, Savinio, Pessoa and García Lorca in an engaging anecdotal style that involves the cinema, the theatre and literature, while the great figures of tradition and recent history are interwoven with reminiscences of private life.

Tom Pickard and the Voices of Postwar British Poetry

2020 ◽  
Vol 66 (3) ◽  
pp. 361-384
Author(s):  
Bryan C. Chitwood
Keyword(s):  
Twentieth Century ◽  
Recent History ◽  
British Poetry ◽  
Political Narratives ◽  
History Of ◽  
The Voice

This article examines the work of British poet Tom Pickard, taking the publication of his collected poems as an occasion to renew an appreciation of the voice as an analytic category for the study of twentieth-century and contemporary British poetry. Focusing on a range of Pickard’s work, especially Ballad of Jamie Allan, the article suggests that rather than view the recent history of British poetry in terms of a modernist/antimodernist dichotomy, with poets assigned to either side of that divide, scholars might productively attend to how voice, as an analytic category and a textual effect, illuminates poetic histories that transgress the bounds of received aesthetic-political narratives.

Espionage and Exile

2016 ◽  
Author(s):  
Phyllis Lassner
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
Cold War ◽  
Literary History ◽  
Political Engagement ◽  
The Political ◽  
International Crises ◽  
Popular Entertainment ◽  
John Le Carre ◽  
The Cold War

Espionage and Exile demonstrates that from the 1930s through the Cold War, British Writers Eric Ambler, Helen MacInnes, Ann Bridge, Pamela Frankau, John le Carré and filmmaker Leslie Howard combined propaganda and popular entertainment to call for resistance to political oppression. Instead of constituting context, the political engagement of these spy fictions bring the historical crises of Fascist and Communist domination to the forefront of twentieth century literary history. They deploy themes of deception and betrayal to warn audiences of the consequences of Nazi Germany's conquests and later, the fusion of Fascist and Communist oppression. Featuring protagonists who are stateless and threatened refugees, abandoned and betrayed secret agents, and politically engaged or entrapped amateurs, all in states of precarious exile, these fictions engage their historical subjects to complicate extant literary meanings of transnational, diaspora and performativity. Unsettling distinctions between villain and victim as well as exile and belonging dramatizes relationships between the ethics of espionage and responses to international crises. With politically charged suspense and narrative experiments, these writers also challenge distinctions between literary, middlebrow, and popular culture.

Historical Romance

2018 ◽  
Author(s):  
Ina Ferris
Keyword(s):  
Eighteenth Century ◽  
Literary History ◽  
Literary Form ◽  
Private Life ◽  
Distinct Form ◽  
Literary Field ◽  
History Writing ◽  
Historical Romance ◽  
Late Eighteenth Century ◽  
Late Eighteenth

This chapter looks at historical romance. Late eighteenth-century historiography began to expand its purview to unofficial spheres of social, cultural, and private life typically cultivated by informal genres such as memoirs, biographies, and novels. The ‘matter’ of history was being increasingly redefined, and this had two key effects that bear on the question of historical romance. First, the ‘reframing’ of the historical field generated a marked reciprocity among the different historical genres in the literary field, as they borrowed material and tactics from one another; second, it led to a splintering albeit not displacement of ‘general’ history, as new branches of history writing took shape, notably that of literary history as a distinct form of history. Hence romance now denoted not only the realm of ‘fancy’ but a superseded literary form of renewed interest in the rethinking of the national past.

Universal Suffrage as Decolonization

2021 ◽  
pp. 1-17
Author(s):  
KEVIN DUONG
Keyword(s):  
Twentieth Century ◽  
Cultural Revolution ◽  
Political Thought ◽  
Black Atlantic ◽  
Global Order ◽  
Historical Process ◽  
Nation States ◽  
Universal Suffrage ◽  
The Voice

This essay reconstructs an important but forgotten dream of twentieth-century political thought: universal suffrage as decolonization. The dream emerged from efforts by Black Atlantic radicals to conscript universal suffrage into wider movements for racial self-expression and cultural revolution. Its proponents believed a mass franchise could enunciate the voice of colonial peoples inside imperial institutions and transform the global order. Recuperating this insurrectionary conception of the ballot reveals how radicals plotted universal suffrage and decolonization as a single historical process. It also places decolonization’s fate in a surprising light: it may have been the century’s greatest act of disenfranchisement. As dependent territories became nation-states, they lost their voice in metropolitan assemblies whose affairs affected them long after independence.

scholarly journals An Autoethnographic Performance: The Researcher’s Story of Hysterectomy and Menopause as Act of Resistance and Activism

2021 ◽  
pp. 194084472110428
Author(s):  
Grace O' Grady
Keyword(s):  
Large Scale ◽  
Medical Discourse ◽  
Private Life ◽  
Visual Images ◽  
Performance Ethnography ◽  
Early Menopause ◽  
Human Voice ◽  
One Year ◽  
Relations Of Power ◽  
The Voice

One year after beginning a large-scale research inquiry into how young people construct their identities I became ill and subsequently underwent abdominal surgery which triggered an early menopause. The process which was experienced as creatively bruising called to be written as “Artful Autoethnography” using visual images and poetry to tell a “vulnerable, evocative and therapeutic” story of illness, menopause, and their subject positions in intersecting relations of power. The process which was experienced as disempowering called to be performed as an act of resistance and activism. This performance ethnography is in line with the call for qualitative inquirers to move beyond strict methodological boundaries. In particular, the voice of activism in this performance is in the space between data (human voice and visual art pieces) and theory. To this end, and in resisting stratifying institutional/medical discourse, the performance attempts to create a space for a merger of ethnography and activism in public/private life.

The Autonomy of Art and the Legitimization of Biofiction: An Aesthetic Turning Point in Twentieth-Century Literature

2021 ◽  
Vol 82 (3) ◽  
pp. 345-369
Author(s):  
Michael Lackey
Keyword(s):  
Twentieth Century ◽  
Literary History ◽  
Turning Point ◽  
Twentieth Century Literature ◽  
Robert Penn Warren ◽  
William Styron ◽  
Literary Forms ◽  
Historical Figure ◽  
One Year ◽  
Century Literature

Abstract Biofiction is literature that names its protagonist after a historical figure, and since the 1990s it has become one of the most dominant literary forms. This is surprising because many prominent scholars, critics, and writers have criticized and even condemned it. This essay hypothesizes that postmodern theories of truth and concomitant transformations in reader sensibilities partly account for the legitimization and now dominance of biofiction. The essay analyzes a 1968 literary debate among Ralph Ellison, William Styron, and Robert Penn Warren, which on the surface concerned the uses of history in literature. But because it happened just one year after the publication of Styron’s controversial novel about Nat Turner, the debate ended up focusing primarily on the nature and value of biofiction. By analyzing the discussion in relation to contemporary formulations about and theorizations of biofiction, this essay illustrates why the forum represents a turning point in literary history, resulting in the decline of a traditional type of literary symbol and the rise of a more anchored and empirical symbol—that is, the type of symbol found in biofiction.

After-Lives

2020 ◽  
pp. 585-598
Author(s):  
Nora Goldschmidt
Keyword(s):  
Twentieth Century ◽  
Early Modern ◽  
Literary History ◽  
Cultural Landscape ◽  
Literary Biography ◽  
Classical Scholarship ◽  
Limits Of Knowledge ◽  
Roman Poetry ◽  
Literary Biographies ◽  
Creative Life

This chapter explores biographical receptions of Greek and Roman poets in the twentieth century. Classical scholarship has now begun to recognize ancient biography as a creative mode of reception in Antiquity. In the twentieth century and into the twenty-first, reading the texts of Greek and Roman poetry for the lives of their authors has been an especially rich and multifaceted mode of reception, providing for many readers a means of grappling with the ancient texts within the changing cultural landscape of modernity. Yet, unlike the medieval and early modern traditions of literary biography, in the twentieth century, academic and creative Lives have tended to part company. When it comes to Greek and Roman poets, though a few full-length literary biographies that still attempt to claim factual status have been produced, conventional narrative biographies that aim to set out the ‘facts’ are generally only found in isagogic contexts such as introductions to texts and translations, or textbooks of literary history. Moreover, partly because modern authors are acutely aware that there are few ‘facts’ beyond the poets’ works themselves on which to base their material, and partly as a broader consequence of modern preoccupations with fragmentation and the limits of knowledge, creative life-writing about the ancient poets in this period is found more frequently in ludic snapshots rather than full-blown narrative biographies.

Collage and the Anxiety of Self-description: Blood and Guts in High School

Kathy Acker ◽  
2016 ◽  
Author(s):  
Georgina Colby
Keyword(s):  
High School ◽  
Twentieth Century ◽  
The Novel ◽  
Original Manuscript ◽  
Poetic Function ◽  
1960S And 1970S ◽  
The 1960S ◽  
Materiality Of The Text ◽  
The Voice

Chapter 2 addresses Acker’s practice of collage, and the anxiety of self-description. Blood and Guts in High School is positioned in relation to both the Dadaist collage and montage practices of artists such as Hannah Höch at the beginning of the twentieth century, and the subversive publications of the 1960s and 1970s: mimeographed magazines, and the punk and post-punk medium of Xeroxed publications. The original manuscript of Blood and Guts in High School housed in the archive possesses a different materiality to the published version of the novel. The materiality of the text in its collage and typographic experimentation is situated in a counter position to the language and hegemonic discourses within which Janey, the voice of the text, is imprisoned. Drawing on Acker’s practices of illegibility, and Denise Riley’s work on language and affect, the chapter argues that Blood and Guts in High School, through its experimental form, reveals the anxiety of self-description that Janey experiences within conventional language structures. Illustration, experimental typography, non-referential language, and the use of the poetic, function in Blood and Guts in High School as sites of an alternate language that emerges through compositional form and experimental forms of iteration.

Revenants and Migrants: Hardy, Butler, Woolf and Sebald

2005 ◽  
Author(s):  
Gillian Beer
Keyword(s):  
Twentieth Century ◽  
To The Lighthouse ◽  
Common Experience ◽  
The Voice

This lecture discusses how far during the twentieth-century writers have trusted memory as good. It compares the longing mistrust of Hardy's poem ‘The Voice’ with the serene re-embodiment of Mrs. Ramsey appearing to the artist Lily in To the Lighthouse. The lecture also discusses the concept of revenants and tries to answer the question of what will happen when migration becomes a common experience, without the likelihood of return.

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