This bibliography lists English-language translations of twentieth-century Italian literature published chiefly in book form between 1929 and 1997, encompassing fiction, poetry, plays, screenplays, librettos, journals and diaries, and correspondence.

Providing the most complete record possible of texts by Italian writers active after 1900, this annotated bibliography covers over 4,800 distinct editions of writings by some 1,700 Italian authors. Many entries are accompanied by useful notes that provide information on the authors, works, translators, and the reception of the translations. This book includes the works of Pirandello, Calvino, Eco, and more recently, Andrea Camilleri and Valerio Manfredi. Together with Robin Healey’s Italian Literature before 1900 in English Translation, also published by University of Toronto Press in 2011, this volume makes comprehensive information on translations from Italian accessible for schools, libraries, and those interested in comparative literature.

"Italian Literature before 1900 in English Translation provides the most complete record possible of texts from the early periods that have been translated into English, and published between 1929 and 2008. It lists works from all genres and subjects, and includes translations wherever they have appeared across the globe. In this annotated bibliography, Robin Healey covers over 5,200 distinct editions of pre-1900 Italian writings. Most entries are accompanied by useful notes providing information on authors, works, translators, and how the translations were received. Among the works by over 1,500 authors represented in this volume are hundreds of editions by Italy's most translated authors - Dante Alighieri, [Niccoláo] Machiavelli, and [Giovanni] Boccaccio - and other hundreds which represent the author's only English translation. A significant number of entries describe works originally published in Latin. Together with Healey's Twentieth-Century Italian Literature in English Translation, this volume makes comprehensive information on translations accessible for schools, libraries, and those interested in comparative literature."--Pub. desc.

This book offers a fresh perspective on Michelangelo’s well-known masterpiece, the Vatican Pietà, by tracing the shifting meaning of the work of art over time. Lisa M. Rafanelli chronicles the object history of the Vatican Pietà and the active role played by its many reproductions. The sculpture has been on continuous view for over 500 years, during which time its cultural, theological, and artistic significance has shifted. Equally important is the fact that over its long life it has been relocated numerous times and has also been reproduced in images and objects produced both during Michelangelo’s lifetime and long after, described here as artistic progeny: large-scale, unique sculpted variants, smaller-scale statuettes, plaster and bronze casts, and engraved prints. The book will be of interest to scholars working in art history, Renaissance studies, early modern studies, religion, Christianity, and theology.

Vasily Grossman (1905–1964) was a successful Soviet author and journalist, but he is more often recognized in the West as Russian literature's leading dissident. How do we account for this paradox? In the first collection of essays to explore the Russian author's life and works in English, leading experts present recent multidisciplinary research on Grossman's experiences, his place in the history of Russian literature, key themes in his writing, and the wider implications of his life and work in the realms of philosophy and politics. Born into a Jewish family in Berdychiv, Grossman was initially a supporter of the ideals of the Russian Revolution and the new Soviet state. During the Second World War, he worked as a correspondent for the Red Army newspaper and was the first journalist to write about the Nazi extermination camps. As a witness to the daily violence of the Soviet regime, Grossman became more and more aware of the nature and forms of totalitarian coercion, which gradually alienated him from the Soviet regime and earned him a reputation for dissidence. A survey of the remarkable accomplishments and legacy left by this controversial and contradictory figure, Vasily Grossman reveals a writer's power to express freedom even under totalitarianism.

Bringing together a broad range of contributors including art, architecture, and design academic theorists and historians, in addition to practicing artists, architects, and designers, this volume explores the place of the sketchbook in contemporary art and architecture. Drawing upon a diverse range of theories, practices, and reflections common to the contemporary conceptualisation of the sketchbook and its associated environments, it offers a dialogue in which the sketchbook can be understood as a pivotal working tool that contributes to the creative process and the formulation and production of visual ideas. Along with exploring the theoretical, philosophical, psychological, and curatorial implications of the sketchbook, the book addresses emergent digital practices by way of examining contemporary developments in sketchbook productions and pedagogical applications. Consequently, these more recent developments question the validity of the sketchbook as both an instrument of practice and creativity, and as an educational device. International in scope, it not only explores European intellectual and artistic traditions, but also intercultural and cross-cultural perspectives, including reviews of practices in Chinese artworks or Islamic calligraphy, and situational contexts that deal with historical examples, such as Roman art, or modern practices in geographical-cultural regions like Pakistan.

"The papers show that the response to the new style was without exception a very conscious one. In Siena and Venice it was simply rejected, whereas in Pesaro, Mantua, Rome and Fontainebleau it was transformed or attempts were made even to surpass it. In other cases, Florence in particular, the answer to the new Raphaelesque style was found by proposing a conspicuously Michelangelesque one instead."--BOOK JACKET.