Between 1861 and 1865, both the Confederate South and Southern Italy underwent dramatic processes of nation-building, with the creation of the Confederate States of America and the Kingdom of Italy, in the midst of civil wars. This is the first book that compares these parallel developments by focusing on the Unionist and pro-Bourbon political forces that opposed the two new nations in inner civil conflicts. Overlapping these conflicts were the social revolutions triggered by the rebellions of American slaves and Southern Italian peasants against the slaveholding and landowning elites. Utilizing a comparative perspective, Enrico Dal Lago sheds light on the reasons why these combined factors of internal opposition proved fatal for the Confederacy in the American Civil War, while the Italian Kingdom survived its own civil war. At the heart of this comparison is a desire to understand how and why nineteenth-century nations rose and either endured or disappeared.
Release on 2019-07-23 | by Wendy Heller,Eleonora Stoppino
Author: Wendy Heller,Eleonora Stoppino
The epic poems the Iliad and the Odyssey, attributed to Homer, are among the oldest surviving works of literature derived from oral performance. Deeply embedded in these works is the notion that they were intended to be heard: there is something musical about Homer's use of language and a vivid quality to his images that transcends the written page to create a theatrical experience for the listener. Indeed, it is precisely the theatrical quality of the poems that would inspire later interpreters to cast the Odyssey and the Iliad in a host of other media-novels, plays, poems, paintings, and even that most elaborate of all art forms, opera, exemplified by no less a work than Monteverdi's Il ritorno di Ulisse in patria. In Performing Homer: The Voyage of Ulysses from Epic to Opera, scholars in classics, drama, Italian literature, art history, and musicology explore the journey of Homer's Odyssey from ancient to modern times. The book traces the reception of the Odyssey though the Italian humanist sources—from Dante, Petrarch, and Ariosto—to the treatment of the tale not only by Monteverdi but also such composers as Elizabeth Jacquet de la Guerre, Gluck, and Alessandro Scarlatti, and the dramatic and poetic traditions thereafter by such modern writers as Derek Walcott and Margaret Atwood.