More than a century has now passed since F.T. Marinetti's famous "Futurist Manifesto" slammed the door on the nineteenth century and trumpeted the arrival of modernity in Europe and beyond. Since then, against the backdrop of two world wars and several radical social upheavals whose effects continue to be felt, Italian poets have explored the possibilities of verse in a modern age, creating in the process one of the great bodies of twentieth-century poetry. Even before Marinetti, poets such as Giovanni Pascoli had begun to clear the weedy rhetoric and withered diction from the once-glorious but by then decadent grounds of Italian poetry. And their winter labors led to an extraordinary spring: Giuseppe Ungaretti's wartime distillations and Eugenio Montale's "astringent music"; Umberto Saba's song of himself and Salvatore Quasimodo's hermetic involutions. After World War II, new generations—including such marvelously diverse poets as Sandro Penna, Pier Paolo Pasolini, Amelia Rosselli, Vittorio Sereni, and Raffaello Baldini—extended the enormous promise of the prewar era into our time. A surprising and illuminating collection, The FSG Book of 20th-Century Italian Poetry invites the reader to examine the works of these and other poets—seventy-five in all—in context and conversation with one another. Edited by the poet and translator Geoffrey Brock, these poems have been beautifully rendered into English by some of our finest English-language poets, including Seamus Heaney, Robert Lowell, Ezra Pound, Paul Muldoon, and many exciting younger voices.

Treasury of 34 poems by Dante, Petrarch, Ariosto, d'Annunzio, Montale, Quasimodo, and others. Full Italian text with literal translation on facing pages. Biographical, critical commentary on each poet. Introduction. 21 black-and-white illustrations.

This is an amazing book, a major achievement in the field of women's studies.--Renaissance Quarterly, reviewing Women's Writing in Italy, 1400-1650

What was Italian poetry like in the years of extraordinary historical, intellectual, aesthetic, and spiritual change between the 1860s and the Unification of Italy in the 1960s? In A Selection of Modern Italian Poetry in Translation Roberta Payne provides a bilingual collection of ninety-two poems by thirty-five Italian poets, including works of classicism and passionate decadentism, examples of crepuscularism, and poetry by Ungaretti, Montale, and Quasimodo. Payne pays particular attention to poets of the fifties and sixties, futurists, and female poets. She notes that the futurists, who have rarely been translated, were particularly important as they were truly original, attempting to develop new notions of word, line, sound, and phrase. Such new notions make translating them particularly challenging. She also offers a large sampling from poets of the fifties and sixties, many of whom have won the Viareggio Prize. Poems by women in this volume reflect diverse schools and directions while maintaining a distinctly female voice. Containing the original Italian and the translation side-by-side, this volume offers a wonderful introduction to Italian poetry to scholars and general readers alike.

Italian poetry of the last century is far from homogeneous: genres and movements have often been at odds with one another, engaging the economic, political, and social tensions of post-Unification Italy. The thirty-eight poets included in this anthology, some of whose poems are translated here for the first time, represent this literary diversity and competition: there are symbolists (Gabriele D'Annunzio), free-verse satirists (Gian Pietro Lucini), hermetic poets (Salvatore Quasimodo), feminist poets (Sibilla Aleramo), twilight poets (Sergio Corazzini), fragmentists (Camillo Sbarbaro), new lyricists (Eugenio Montale), neo-avant-gardists (Alfredo Giuliani), and neorealists (Pier Paolo Pasolini)—among many others.

Italian Futurist Poetry contains more than 100 poems (both Italian and English versions) by sixty-one poets from across Italy.

These essays illuminate the changing nature of text-music relationships from the time of Petrarch to Guarini and, in music, from the madrigals of Giovanni da Cascia to those of Gesualdo da Venosa. Haar traces a line of development from the stylized rhetoric of Trecento song through the popularizing trends of Quattrocento music and on to the union of verbal and musical cadence that marked the high Renaissance in sixteenth-century Italian music. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1986.

This collection with parallel texts in Italian and English gives theEnglish-reading audience a sense of the great variety of the presentpoetic scene in Italy with a selection of twenty-one of the mostrepresentative contemporary poets.

An examination of the ways in which late medieval lyric poetry can be seen to engage with contemporary medical theory. This book argues that late medieval love poets, from Petrarch to Machaut and Charles d'Orléans, exploit scientific models as a broad framework within which to redefine the limits of the lyric subject and his body. Just as humoraltheory depends upon principles of likes and contraries in order to heal, poetry makes possible a parallel therapeutic system in which verbal oppositions and substitutions counter or rewrite received medical wisdom. The specific case of blindness, a disability that according to the theories of love that predominated in the late medieval West foreclosed the possibility of love, serves as a laboratory in which to explore poets' circumvention of the logical limits of contemporary medical theory. Reclaiming the power of remedy from physicians, these late medieval French and Italian poets prompt us to rethink not only the relationship between scientific and literary authority at the close of the middle ages, but, more broadly speaking, the very notion of therapy. Julie Singer is Assistant Professor of French at Washington University, St Louis.