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“[This] marvelous biography peels back layer upon layer of previous myth to render a startling new portrait of the countess. . . . Absorbing.” —Publishers Weekly Tuscan Countess is a fast-paced and colorful exploration of the life of Matilda of Canossa (c. 1046–1115), a woman who loved a pope and was loved by him, successfully defied the Holy Roman Emperor, and changed the map of Europe. Matilda of Canossa, the “Great Countess,” was a remarkable woman. Her personal power was so extraordinary that even centuries after her death she became the first woman to be interred in St. Peter's Basilica. She is best remembered for her role in the conflict between the papacy and the Holy Roman emperor, the climax of which took place at her castle of Canossa. This unique biography is also a journal of the author's travels through contemporary Tuscany as she explores the palaces where Matilda held court, the blood-stained plains on which her soldiers battled, the churches and cathedrals she endowed, and the fortified aeries where she sought refuge. Readers will be swept along on this engrossing journey retracing the steps of a courageous and brilliant woman.

When first published in 1926 this book aroused much controversy. The theory expounded in the book was that Islamic sources in general, and the writings of Ibn al-`Arabi in particular, formed the basis of Dante’s poem Divine Comedy, the poem which symbolised the whole culture of medieval Christianity. The book shows how fundamental Muslim legends of the nocturnal journey and of the ascension of the Prophet Muhammed appear in Dante’s writings.

This book examines the vre of Anna Maria Ortese (1914-1998) from her first literary writings in the Thirties to her great novels in the Nineties. The analysis focusses on two interweaving core themes, loss and the Other. It begins with the shaping of personal loss of an Other following death, separation, abandonment, coupled with melancholy for life's transience as depicted in autobiographical works and in her masterpiece Il porto di Toledo. The book then addresses Ortese's literary engagement with social themes in realist stories set in post-war Naples in her collection Il mare non bagna Napoli and then explores her continuing preoccupation with socio-ethical issues, imbued with autobiographical elements, in non-realist texts, including her masterful novels L'Iguana, Il cardillo addolorato and Alonso e i visionari The book combines theme and genre analysis, highlighting Ortese's adoption and hybridization of diverse literary forms such as poetry, the novel, the short story, the essay, autobiography, realism, fairy tales, fantasy, allegory. In her work Ortese weaves an ongoing dialogue with literary and non-literary works, through direct quotations, allusions, echoes, adoption of motifs and topoi. The book thus highlights the intertextual relationship with her sources: Leopardi, Dante, Petrarch, Manzoni, Collodi, Montale, Serao; Shakespeare, Milton, Keats, Blake, Joyce, Conrad, Melville, Poe, Hawthorne, Hardy; Manrique, Gongora, de Quevedo, Villalón, Bello, Cantar del mio Cid; Heine, Valery, Puccini's Madam Butterfly, folklore, popular songs, and the Bible. Ortese thus shapes her literary themes in the background of social, political and economic upheavals over six decades of Italian history, culminating in an allegorical critique of modernity and a call for a renewed bond between humans and the Other.

Combining close textual readings with a broad theoretical perspective, this book is a study of the ways in which gender shapes the characters and narratives of seven important Italian novels of the nineteenth and twentieth centuries.