23 products were found matching your search for leopardi in 1 shops:

Bologna, 18-19 maggio 1998). A cura di Marco A. Bazzocchi. cm.17×24, pp.XVI,316 pp. con 4 tavv. f. Biblioteca dell'«Archivum Romanicum» - Serie I: Storia, Letteratura. Firenze, Olschki cm.17×24, pp.XVI,316 pp. con 4 tavv. f. brossura soprac.figl.a colori. Biblioteca dell'«Archivum Romanicum» - Serie I: Storia, Letteratura.

Giacomo Leopardi (1798-1837) is widely considered the greatest Italian poet since Dante, He was a scholar and philosopher whose out standing scholarly and philosophical works and superb poetry place him in the pantheon of great nineteenth-century writers.

These translations of the major poems of Giacomo Leopardi (1798-1837) render into modern English verse the work of a writer who is widely regarded as the greatest lyric poet in the Italian literary tradition. In spite of this reputation, and in spite of a number of nineteenth-and twentieth-century translations, Leopardi's poems have never "come over" into English in such a way as to guarantee their author a recognition comparable to that of other great European Romantic poets. By catching something of Leopardi's cadences and tonality in a version that still reads as idiomatic modern English (with an occasional Irish or American accent), Leopardi: Selected Poems should win for the Italian poet the wider appreciative audience he deserves. His themes are mutability, landscape, love; his attitude, one of unflinching realism in the face of unavoidable human loss. But the manners of the poems are a unique amalgam of philosophical toughness and the lyrically bittersweet. In a way more pure and distilled than most others in the Western tradition, these poems are truly what Matthew Arnold asked all poetry to be, a "criticism of life" The translator's aim is to convey something of the profundity and something of the sheer poetic achievement of Leopardi's inestimable Canti.

The book and slipcase are in very good condition, minor shelf rubbing to slipcase little to none for book. A beautiful edition of the book with a plastic sleeve with gilt decoration and lettering on the spine and two blue cloth bookmarks sewn into the binding. 'A beautiful collection of Giacomo Leopardi's poems from a poet considered by many to be the best that has ever put pen to paper in his native language of Italian.' 1505 pages. 7.1 x 4.1 inches. May require additional postage. This listing was made by a small independent book shop. We carefully inspect every single book we list and give accurate descriptions. If you require we will promptly send pictures of listed books upon request. Size: 12mo - over 6¾ - 7¾" tall

La presenza di Leopardi nella cultura italiana è una costante che alterna andamenti carsici a intense fiammate. Se intrattiene con il tempo storico il rapporto elastico che è proprio dei classici, la sua opera è stata oggetto di una gamma straordinariamente ampia di interpretazioni; emerge una 'Linea Leopardi', che si rivela potente indicatore della vita civile dell'Italia contemporanea. Il libro offre una galleria di incontri con Leopardi (De Sanctis & Co., Savinio, Gadda, Saba, Morandi), nella loro diversità accomunati dal rispecchiamento autobiografico e dalla lotta alla retorica. cm.17x24, pp.VIII,170, Coll.Gabinetto Scientifico Letterario G.P. Vieusseux. Studi, vol. 34. Firenze Olschki cm.17x24, pp.VIII,170, brossura. Coll.Gabinetto Scientifico Letterario G.P. Vieusseux. Studi, vol. 34.

Leopardi's Pensieri--a collection of aphorisms in the great European tradition of literary social commentary--focuses on the eternal conflict between knowledge and illusion. W.S. Di Piero offers the first translation into English of the entire text of the Pensieri.

Common sense dictates that it simply cannot exist -- the "Leopardi Madonna," a glorious treasure by the fifteenth-century master Santi Raphael. All the reference books and reliable scholarship indicate that the painting was destroyed in 1945, when the Allies bombed a Nazi warehouse filled with looted art. Only now the Madonna has reappeared, it seems, in this stunning, original thriller that uncovers greed and treachery in the rarefied precincts of the art world. Summoned to Venice from America to view the painting, Renaissance scholar and sometime-art dealer Jordan Brooks returns to the city that had enchanted him twenty years before. As he ponders the possibility that a fake was set afire a half century earlier and the authentic work has resurfaced -- or that the actual masterpiece was lost in the conflagration and a magnificent fake has taken its place -- he also contemplates the strange and secret auction which offers him a chance to bid on the painting. Set against the backdrop of Venice in late autumn, when the timeless city's rain-swollen lagoons threaten to swamp all her treasures, the novel limns the path that lands Jordan on the doorstep of his former teacher, Giorgio Sagredo, who has compromised his ideals to sell the Madonna. It leads Jordan, too, into a horde of amoral art dealers eager to make a killing and, more fortuitously, introduces him to Katie, a young American student who has a scent for the truth and a way of turning up at the moment he needs her most.

'So my mind sinks in this immensity:and foundering is sweet in such a sea'Revisited and reorganized over his lifetime, this extraordinary work was described by Leopardi as a 'reliquary' for his ideas, feelings and deepest preoccupations. It encompasses drastic shifts in tone and material, and includes early personal elegies and idylls; radical public poems on history and politics; philosophical satires; his great, dark, despairing odes such as 'To Silvia'; and later masterworks such as 'The Setting of the Moon', written not long before Leopardi's death. Infused with classical allusion and nostalgia, yet disarmingly modern in their spare, meditative style and their sense of alienation and scepticism, the Canti influenced the following two centuries of Western lyric poetry, and inspired thinkers and writers from Schopenhauer and Nietzsche to Beckett and Lowell.Jonathan Galassi's direct new translation sensitively responds to the musicality of the Canti, while his introduction discusses the paradoxes of Leopardi's life and work.

Newly awakened interest in Giacomo Leopardi (1798-1837), arguably the greatest Italian poet since the Renaissance, has resulted in this project to translate a major portion of his works. This volume is the first of four which will encompass the great Canti (in bilingual text), selections from the poet's correspondence, a substantial portion of his enormous intellectual journal, the Zibaldone, and the focus of the present volume, the Operette morali.Originally planned as a set of dialogues in the manner of Lucian, the Operette is a compilation of brief, interrelated works on questions of moral philosphy. By means of numerous characters, and by means of a range of styles, Leopardi grapples with a theory of pleasure, the concepts of fame, the infinite, human happiness, the function of poetry, and other topics. In the poet's own opinion, the Operette represented his major philosophical speculation and ranked just below his Canti.

This volume presents an English prose translation of Giacomo Leopardi's Paralipomeni della Batracomiomachia, complete with an introduction and annotations, all by Ernesto G. Caserta. Written near the end of Leopardi's life, and published posthumously, this work is a satirical poem consisting of eight stanzas with eight lines each.

Leopardi's Pensieri--a collection of aphorisms in the great European tradition of literary social commentary--focuses on the eternal conflict between knowledge and illusion. W.S. Di Piero offers the first translation into English of the entire text of the Pensieri.

Then out of nowhere after years of silence the words we used, our unobstructed accents, will well up from the dark of childhood, and once more on our lips we'll taste Greek salt. -from "Salt," translated by Jamie McKendrickEugenio Montale (1896 - 1981) was the greatest Italian poet since Leopardi, perhaps since Petrarch, and is generally acknowledged as one of the preeminent European poets of the last century. His lyrical, mysterious poems abound in natural images—the high cliffs and inlets of the Ligurian coast, golden sunflowers, scolding blackbirds, and sun-scorched landscapes. Indeed, in the view of James Merrill, whose superb translations of several of Montale's poems appear in this volume, Montale was "the twentieth-century nature poet," in whose lines "any word can lead you from the kitchen garden into really inhuman depths." Also full of mythological and literary resonance, Montale's poems poignantly explore the connection between nature, the individual, and the divine.Montale in English draws on the poet's eight major collections, bringing together translations, adaptations, and homages by fifty-eight American, English, Scottish, Australian, and Italian poets and scholars, including Samuel Beckett, David Ferry, Jonathan Galassi, Jorie Graham, Robert Lowell, Edwin Morgan, and Charles Wright. The editor's introduction gives a precise account of the history of Montale's reception in English, and by providing an analysis of four translations of a single poem, contributes to the controversial issue of poetic translation.

A New York Times Notable Book for 2011 Giacomo Leopardi is Italy's greatest modern poet, the first European writer to portray and examine the self in a way that feels familiar to us today. A great classical scholar and patriot, he explored metaphysical loneliness in entirely original ways. Though he died young, his influence was enormous, and it is no exaggeration to say that all modern poetry, not only in Italian, derives in some way from his work.Leopardi's poetry is notoriously difficult to translate, and he has been less well known to English-language readers than his central significance for his own culture might suggest. Now Jonathan Galassi, whose translations of Eugenio Montale have been widely acclaimed, has produced a strong, fresh, direct version of this great poet that offers English-language readers a new approach to Leopardi. Galassi has contributed an informative introduction and notes that provide a sense of Leopardi's sources and ideas. This is an essential book for anyone who wants to understand the roots of modern lyric poetry.

A groundbreaking translation of the epic work of one of the great minds of the nineteenth centuryGiacomo Leopardi was the greatest Italian poet of the nineteenth century and was recognized by readers from Nietzsche to Beckett as one of the towering literary figures in Italian history. To many, he is the finest Italian poet after Dante. (Jonathan Galassi's translation of Leopardi's Canti was published by FSG in 2010.) He was also a prodigious scholar of classical literature and philosophy, and a voracious reader in numerous ancient and modern languages. For most of his writing career, he kept an immense notebook, known as the Zibaldone, or "hodge-podge," as Harold Bloom has called it, in which Leopardi put down his original, wide-ranging, radically modern responses to his reading. His comments about religion, philosophy, language, history, anthropology, astronomy, literature, poetry, and love are unprecedented in their brilliance and suggestiveness, and the Zibaldone, which was only published at the turn of the twentieth century, has been recognized as one of the foundational books of modern culture. Its 4,500-plus pages have never been fully translated into English until now, when a team under the auspices of Michael Caesar and Franco D'Intino of the Leopardi Centre in Birmingham, England, have spent years producing a lively, accurate version. This essential book will change our understanding of nineteenth-century culture. This is an extraordinary, epochal publication.

This polemical work presents to the English-speaking world one of the most original philosophical thinkers to have emerged within post-war Europe. Sebastiano Timpanaro is an Italian classical philologist by training, an author of scholarly studies on the nineteenth-century poet Leopardi, and a Marxist by conviction. With great force and wit, On Materialism sets itself against what it sees as the virtually universal tendency within western Marxism since the war, to dissociate historical materialism from biological or physical materialism. Whereas the philosophical legacy of the later Engels has been decried by most prominent Marxists since the 1920s, Timpanaro eloquently defends its essential purpose and relevance, by unfashionably re-emphasising the permanent weight of nature within history. In doing so, he returns to the heritage of Lucretius and Leopardi, and argues for a more consistent materialism that is at once more pessimistic and more hedonistic than any other contemporary version of Marxism. Timpanaro emphasises the insuperable limits of frailty and mortality as unalterable conditions of society whose transformation is the goal of revolutionary socialism. Timpanaro vigorously attacks what he regards as the widespread entente between a diluted Marxism and a fashionable idealism in the west, whether in the form of an “existentialist” or a “structuralist” union of the two. The aversion of the former to the work of Darwin and Engels receives a spirited refutation, no less than the indulgence of the latter towards the work of Saussure or Levi-Strauss. A special introduction written for this English edition deals with the phenomenon of the recent revival of “vulgar materialism” in the Anglo-Saxon world, in the fields of psychology and anthropology, and its relationship to racism. On Materialism will be one of the central focuses of cultural and intellectual controversy within and beyond Marxism in the next decade.

This polemical work presents to the English-speaking world one of the most original philosophical thinkers to have emerged within post-war Europe. Sebastiano Timpanaro is an Italian classical philologist by training, an author of scholarly studies on the nineteenth-century poet Leopardi, and a Marxist by conviction. With great force and wit, On Materialism sets itself against what it sees as the virtually universal tendency within western Marxism since the war, to dissociate historical materialism from biological or physical materialism. Whereas the philosophical legacy of the later Engels has been decried by most prominent Marxists since the 1920s, Timpanaro eloquently defends its essential purpose and relevance, by unfashionably re-emphasising the permanent weight of nature within history. In doing so, he returns to the heritage of Lucretius and Leopardi, and argues for a more consistent materialism that is at once more pessimistic and more hedonistic than any other contemporary version of Marxism. Timpanaro emphasises the insuperable limits of frailty and mortality as unalterable conditions of society whose transformation is the goal of revolutionary socialism. Timpanaro vigorously attacks what he regards as the widespread entente between a diluted Marxism and a fashionable idealism in the west, whether in the form of an “existentialist” or a “structuralist” union of the two. The aversion of the former to the work of Darwin and Engels receives a spirited refutation, no less than the indulgence of the latter towards the work of Saussure or Levi-Strauss. A special introduction written for this English edition deals with the phenomenon of the recent revival of “vulgar materialism” in the Anglo-Saxon world, in the fields of psychology and anthropology, and its relationship to racism. On Materialism will be one of the central focuses of cultural and intellectual controversy within and beyond Marxism in the next decade.

Newly awakened interest in Giacomo Leopardi (1798-1837), arguably the greatest Italian poet since the Renaissance, has resulted in this project to translate a major portion of his works. This volume is the first of four which will encompass the great Canti (in bilingual text), selections from the poet's correspondence, a substantial portion of his enormous intellectual journal, the Zibaldone, and the focus of the present volume, the Operette morali.Originally planned as a set of dialogues in the manner of Lucian, the Operette is a compilation of brief, interrelated works on questions of moral philosphy. By means of numerous characters, and by means of a range of styles, Leopardi grapples with a theory of pleasure, the concepts of fame, the infinite, human happiness, the function of poetry, and other topics. In the poet's own opinion, the Operette represented his major philosophical speculation and ranked just below his Canti.

A groundbreaking translation of the epic work of one of the great minds of the nineteenth centuryGiacomo Leopardi was the greatest Italian poet of the nineteenth century and was recognized by readers from Nietzsche to Beckett as one of the towering literary figures in Italian history. To many, he is the finest Italian poet after Dante. (Jonathan Galassi's translation of Leopardi's Canti was published by FSG in 2010.) He was also a prodigious scholar of classical literature and philosophy, and a voracious reader in numerous ancient and modern languages. For most of his writing career, he kept an immense notebook, known as the Zibaldone, or "hodge-podge," as Harold Bloom has called it, in which Leopardi put down his original, wide-ranging, radically modern responses to his reading. His comments about religion, philosophy, language, history, anthropology, astronomy, literature, poetry, and love are unprecedented in their brilliance and suggestiveness, and the Zibaldone, which was only published at the turn of the twentieth century, has been recognized as one of the foundational books of modern culture. Its 4,500-plus pages have never been fully translated into English until now, when a team under the auspices of Michael Caesar and Franco D'Intino of the Leopardi Centre in Birmingham, England, have spent years producing a lively, accurate version. This essential book will change our understanding of nineteenth-century culture. This is an extraordinary, epochal publication.

A groundbreaking translation of the epic work of one of the great minds of the nineteenth centuryGiacomo Leopardi was the greatest Italian poet of the nineteenth century and was recognized by readers from Nietzsche to Beckett as one of the towering literary figures in Italian history. To many, he is the finest Italian poet after Dante. (Jonathan Galassi's translation of Leopardi's Canti was published by FSG in 2010.) He was also a prodigious scholar of classical literature and philosophy, and a voracious reader in numerous ancient and modern languages. For most of his writing career, he kept an immense notebook, known as the Zibaldone, or "hodge-podge," as Harold Bloom has called it, in which Leopardi put down his original, wide-ranging, radically modern responses to his reading. His comments about religion, philosophy, language, history, anthropology, astronomy, literature, poetry, and love are unprecedented in their brilliance and suggestiveness, and the Zibaldone, which was only published at the turn of the twentieth century, has been recognized as one of the foundational books of modern culture. Its 4,500-plus pages have never been fully translated into English until now, when a team under the auspices of Michael Caesar and Franco D'Intino of the Leopardi Centre in Birmingham, England, have spent years producing a lively, accurate version. This essential book will change our understanding of nineteenth-century culture. This is an extraordinary, epochal publication.

This polemical work presents to the English-speaking world one of the most original philosophical thinkers to have emerged within post-war Europe. Sebastiano Timpanaro is an Italian classical philologist by training, an author of scholarly studies on the nineteenth-century poet Leopardi, and a Marxist by conviction. With great force and wit, On Materialism sets itself against what it sees as the virtually universal tendency within western Marxism since the war, to dissociate historical materialism from biological or physical materialism. Whereas the philosophical legacy of the later Engels has been decried by most prominent Marxists since the 1920s, Timpanaro eloquently defends its essential purpose and relevance, by unfashionably re-emphasising the permanent weight of nature within history. In doing so, he returns to the heritage of Lucretius and Leopardi, and argues for a more consistent materialism that is at once more pessimistic and more hedonistic than any other contemporary version of Marxism. Timpanaro emphasises the insuperable limits of frailty and mortality as unalterable conditions of society whose transformation is the goal of revolutionary socialism. Timpanaro vigorously attacks what he regards as the widespread entente between a diluted Marxism and a fashionable idealism in the west, whether in the form of an “existentialist” or a “structuralist” union of the two. The aversion of the former to the work of Darwin and Engels receives a spirited refutation, no less than the indulgence of the latter towards the work of Saussure or Levi-Strauss. A special introduction written for this English edition deals with the phenomenon of the recent revival of “vulgar materialism” in the Anglo-Saxon world, in the fields of psychology and anthropology, and its relationship to racism. On Materialism will be one of the central focuses of cultural and intellectual controversy within and beyond Marxism in the next decade.