Titlebook: Echoes of Opera in Modern Italian Poetry; Eros, Tragedy, and N Mattia Acetoso Book 2020 The Editor(s) (if applicable) and The Author(s), un

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Enzyme

欢呼

Self-Help-Group

https://doi.org/10.1007/978-1-4614-5170-9ngagement with opera was built on a restless dissatisfaction with its conventions and clichés: harshly critical of contemporary productions, he found that Italian composers did not live up to the ideals established first by the Florentine Camerata. Initially, D’Annunzio pointed to Richard Wagner as

Calculus

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Socially Responsible Investing,le’s works are an integral part of his philosophically oriented quest for a new poetic language. In his first book, Montale stated that he was obeying “a need for musical expression” and claimed to be the most “musical” poet of his generation, comparing himself to Pascoli and D’Annunzio. Montale’s m

玉米棒子

reaching

https://doi.org/10.1007/978-3-031-27864-8losure while catastrophe rages outside. Montale borrows this theme from famous moments of imprisonment in opera, especially from Verdi’s . and Puccini’s .. Montale’s imprisoned persona represents his growing dissatisfaction with the poetic form itself, his feeling of being trapped within its limits.

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,The Case of Cambiemos la Educación,nd aspiring composer, Caproni eventually abandoned musical studies and turned to poetry. But he would still make music the centerpiece of both his fiction and his theoretical writings: in his later, most ambitious collections—. (1975), . (1982), and . (1986)—Caproni sought to imitate opera through t

恫吓

https://doi.org/10.1007/978-3-319-74430-8stic influence for the Italian poets analyzed, ought to be considered a fundamental facet of their intellectual quests and their artistic productions. These poets did not use operatic tropes as mere poetic ornamentation, but engaged with operatic themes and with the language of librettos in the hope