Posts under tag: Italian
“Not only does [studying a language] help you understand yourself in comparison to another culture in another place, it also gives you tools to work in such a globalized society.”
French, Italian, and Portuguese faculty from the Romance Languages Department will lead a week long series of events to celebrate Carnevale 2014. All events will be held in the Global Scholars Hall on the University of Oregon campus. Learn to cook French Liege Waffles! Learn to dance the Capoeira! Watch a movie!
Dr. Nathalie Hester presents Armchair Travel from Italy to the “New World”
This unique event brought to you by the Oregon Rare Books Initiative (ORBI). The talk will be held on Wednesday March 5th at 4:45 in the Paulson Reading Room in the Knight Library.
ORBI is a new research and interest group promoting the study of the history of the book at UO. For more information visit blogs.uoregon.edu/orbi/.
Assistant Professor of Italian and Cinema Studies Sergio Rigoletto has published a co-edited volume entitled Popular Italian Cinema (Palgrave Macmillan). The collection includes two essays by Prof. Rigoletto: “The Fair and the Museum: Framing the Popular’ (co-written with L. Bayman) [Open Access Postprint] and “Laughter and the Popular in Lina Wertmüller’s The Seduction of Mimì” [Open Access Postprint].
‘This volume really does represent a shift in thinking on Italian cinema, and the many fine, young scholars who contribute to this book show the direction that future criticism of Italian film will take. It is a valuable contribution to cinema studies on many levels, and I was delighted to have read it.’
– Peter Bondanella, Distinguished Professor Emeritus of Comparative Literature, Film Studies and Italian, Indiana University, USA
Prof. Rigoletto has also published an essay, “Contesting National Memory: Masculine Dilemmas and Oedipal Scenarios in Bernardo Bertolucci’s Strategia del ragno and Il conformist” [Ingenta] [Open Access] in Italian Studies. The essay is a reading of the theme of the oedipal conflict between father and son in these two films as an exploration of the problematic relation between Italy’s post-1968 and its fascist past.