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Hard back binding in publisher's original crimson paper covered boards, gilt title and author lettering to the spine. Contains printed pages of Italian text. Cheap paper browning to the closed page edges and margins, some light marking to the edges. Very Good clean condition book in Very Good condition dust wrapper with rubs and chips to the edges, sun yellowing to the cover edges. Dust wrapper supplied in archive acetate film protection, it does not adhere to the book or to the dust wrapper. Member of the P. Log-in or create an account first!

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Umiliati E Offesi [The Insulted and Humiliated] in Italian

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Umiliati e offesi. Dostoevskij, Fedor Published by Orpheus libri. Umiliati e offesi Dostoevskij, Fedor Published by Orpheus libri. Umiliati e offesi Fedor Dostoevskij Published by Orpheus It was not simply a question of making room here and there for what might be called universal literature, so as to add a touch of cosmopolitan flavour to a catalogue that was mainly based on Italian titles and authors.

What happened was precisely the opposite: Italian fiction provided far less inspirational source material for the sceneggiato than foreign fiction.

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Let us look at the origins of the novels from which the 26 sceneggiati drew their material. I have already premised that given the absence of an articulated comparative outline, I do not feel entitled to speak of a possible uniqueness of the Italian situation.

Guido Guglielmi

But when some comparison is made available, the difference emerges clearly enough between the Italian route to literary adaptation and the practices of other countries, where the genre also flourished in the early days of national broadcasting. The sources of Italian sceneggiato, by contrast, were scattered throughout international literature, particularly European. Or in other words: how can the fact that most literary adaptations relied on foreign literature be reconciled with the status and claim of the sceneggiato as a quintessential national genre?

The hypothesis of a more or less mandatory choice, given the relatively small heritage of Italian novels bequeathed to us from the nineteenth and early twentieth centuries, is plausible; but it is only a partial explanation.

This should be regarded as a typically Italian characteristic. In reality — and the paradox is only apparent — it was precisely by opening the gates to non-Italian literature that the Italianness of sceneggiato could be recognized. It must be remembered in this connection that the widespread presence, in both supply and consumption, of cultural goods and materials including books of foreign origin, has accounted for one of the most specific and distinctive components of Italian cultural space since the beginning of the twentieth century.

The predominance of translated fiction over novels by Italian authors — the object, in former times, of critical comments by Antonio Gramsci on the relationship between Italian intellectuals and the people — was a standard feature of the book market throughout the twentieth century, before and after World War II. Research conducted in the latter half of the s, for example, revealed that 13 out of the 20 novels most read in Italy were translations Forgacs-Gundel, During the s, and well beyond, the striking predilection of Italians for foreign writers and novels has remained unchanged, as surveys of reading confirmed.

On that account, it should not be forgotten that the great flowering of European novel, the main source of Italian sceneggiato, coincided with the crucial historical period when Italian national unity was forged. In fact the sceneggiato did not limit itself to contextualizing the national unification through European literature, but it made the Risorgimento the central subject matter of a series of historical dramas, which in this case drew on Italian literature.

As I recalled earlier, 7 of the 26 sceneggiati produced by RAI between and were adaptations of works by Italian authors. Although the genre had its heart in the nineteenth century, it has been practised intermittently and has enjoyed renewed popularity in later years. The imminence of the first centenary of Italian unity, celebrated in , certainly provided a stimulus in this direction; it is well know for example that Sergio Pugliese, director of programming, was determined to have the transmission of La Pisana before the centenary.

The sceneggiato adapted Le confessioni di un italiano by Ippolito Nievo, writer and Garibaldian hero. The inheritance of international literature and the epic of the Risorgimento, mediated by national literature, thus constituted the prime materials to be used by the sceneggiato in the early days of broadcasting, to help to give Italians a common language and culture, and the shared sense of belonging to the same nation. Leggere, comprare…, in Spinazzola, Vittorio ed. Une sociologie, Paris, Gallimard Silj, Alessandro ed.

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