By Giuseppe Ungaretti
"This quantity of poetry comprises the paintings encouraged through Guiseppe Ungaretti's adventure in international struggle I. This twin language version is observed by means of his personal essays and notes. Giuseppe Ungaretti used to be born in Alexandria in 1888. In 1912 he left Egypt to check in Paris the place he used to be prompted via the French avant garde. relocating to Milan in 1914, he turned a significant determine of Italian modernism. His feel of poetic vocation and language was once additional formed by means of his event of the fierce battling at the Austrian entrance in the course of global warfare I. After the warfare, Ungaretti lived close to Rome until eventually 1936, while he was once provided a professorship on the college of Sao Paulo in Brazil. The dying of his younger son, the outbreak of the area warfare II and the profession of Rome had a profound influence on his poetry at the moment. He back to Rome in 1942 and taught on the college there till his retirement. He died in Milan in 1970."
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Publish 12 months notice: First released 1992
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"This quantity of poetry comprises the paintings encouraged by way of Guiseppe Ungaretti's adventure in global warfare I. This twin language version is observed via his personal essays and notes. Giuseppe Ungaretti used to be born in Alexandria in 1888. In 1912 he left Egypt to review in Paris the place he was once encouraged by means of the French avant garde.
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Extra info for Selected Poems
117 One of the lessons of that essay and its sequel, “Lyric and Modernity,” was that once a particular tendency is established as constitutive of a literary-historical entity (say, modernism, or postcolonial literature), not only will exceptions immediately spring to mind, but the tendency in question will suddenly be found at work in one form or another throughout literary history. Isn’t the dynamic laid out above as constitutive of modernism a feature of literary language more generally (Herrick’s “careless shoestring,” for example, reproducing the logic of the fragment, of the humble thing as the little piece of the Real)?
This is all the more remarkable in that the British occupation and its effects are explicitly present throughout Ulysses; recent Joyce criticism has had no trouble ﬁnding virtually endless afﬁnities between Joyce’s work and postcolonial literature or in reading Joyce through postcolonial theorists.
But to leave things at this, to return to this fact anxiously, repeatedly, to pile precautions on top of hesitations, to try at all costs to avoid the accusation of naı¨vete´ (ultimately, to seek escape from this breathless interior through an unjustiﬁable leap that then must assume monstrous proportions), betrays a certain fear. Not a fear of error, of accidentally making a claim that cannot be rigorously justiﬁed, but a fear of truth. Here again we might turn to Hegel’s critique of Kant in Phenomenology of Spirit.
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