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In this monograph, Gregory M. Pell provides a full-length study on
the poetry of Davide Rondoni, one of Italy's most active
contemporary writers and thinkers. This book includes comparative
studies of Jorie Graham, Gjertrud Schnackenberg, Charles Wright,
John Ashbery, Patrizia Fazzi, and Mario Luzi. As the first book in
English on Davide Rondoni's poetry, this study explores how the
Italian poet deals with art, and the places of art, in a way that
transcends the notion of ekphrasis (or, verbal representation of
pictorial art) to see poetry as the transcription of an experience
with art, thus becoming a sort of anti-ekphrasis, or an atmospheric
ekphrasis. The social and religious aspects of art take precedence
over aesthetic concerns, without discounting them, in Rondoni's
unsentimental poetry, which takes the form of recitative theatrical
monologues. Thus, art becomes more than simple visual
representation or the subject of an art history catalogue. Instead,
in certain poets, such as Rondoni, we experience life through art's
complete process: from the artist's originary idea to the work's
execution to our interaction with it in the here and now.
They say that laughter is a purely human phenomenon, so exclusively
ours that we brook no intruders except, of course, for the laughing
hyena, the laughing jackass (officially known as the kookaburra
bird of Australia), laughing matters, laughing gas, or the
perennial laughing stock. But what is humor, that funny thing so
varied in its colors and tones, so encompassing in its themes, so
different from time to time and place to place? And when we poke
fun, at whom are we really laughing?At Whom Are We Laughing? Humor
in Romance Language Literatures is the selective product of a
multi-national gathering of scholars sponsored by Hofstra
University in Hempstead, New York, to explore humor across the
centuries in the literatures of Italy, France, Romania, the Iberian
Peninsula and its diaspora. The volume contains thirty-one
scholarly and interpretative papers on diverse aspects of their
wit, provocative aspects that are, for the most part, little known
to the general reader. Precisely because of its scope and
diversity, its appeal should extend beyond academia into the
libraries of the intellectually curious, be they English speakers
or not, be they specialists in humanities, psychology, society and
culture, or merely interested amateurs who frequent the many new
humor societies and clubs that abound in the world of today.
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