Critical Analysis Of Crocicchio By Ardengo Soffici

In this passage, the writer achieves a very effective style and language in order to create a sense of immersion and truly understand their experience. The author is able to produce these effects using two methods that are prominent throughout the story. The methods that the author uses to convey the sense of immersion are imagery and perspective in order to successfully achieve a powerful style and language. As a result of this, the author creates powerful language and style to truly convey their experience.

There are numerous arts and architecture that celebrate the medieval and the Renaissance history of Florence. Florence has a past not known to many, you could say it’s the untold history that dates back to the Roman empire. Before the Medici’s rise to power, the books of Machiavelli and Dante, and the David’s sculpted by Michelangelo and Donatello Florence was a Roman republic. Their influence on the city is overlooked and forgotten in books. The intention of this research paper is to shed some light on that forgotten past, to uncover the traces of Roman empire in Florence and the thrilling stories of some of the games in the Colosseum.

Boccaccio, through the stories in The Decameron, often makes fun of the Italy’s false perfection and immortality. Through each story he picks a specific aspect of the Italian imperfect to poke fun at and highlight the ridiculousness or hypocrisy of. One topic he often highlights is religion and how arbitrary it was at this time in Italy, especially during the time of the black plague. Two of these stories that discuss religion are the First Day First story and the Third Day First Story. These two stories focus on religion and the falsely perfect smoke screen that hides the naivety and hypocrisy in their holiest of places and people.

At first glance, Giovanni Paolo Pannini’s Picture Gallery with Views of Modern Rome (1757) reveals very little past the outsider-looking-in perspective we are given from Pannini’s perspective. In the center is the Duc de Choiseul surrounded by detailed views of Roman architecture including buildings, fountains, and monuments and several infamous sculptures from the 17th and 18th centuries. While looking at the painting, it is hard to pinpoint one focal point within the composition when the walls of the gallery are filled with paintings from the floor to the ceiling. The focus becomes about the space Pannini has created and it does not focus on one specific object or figure. Each view of Rome seen in the imagined gallery adds to the illusion of Rome as an ideal city and to the idea of its beauty. By showing a space that reflects this beauty through the numerous paintings, sculptures, and architecture Pannini’s painting transforms into an allegory. Even though this painting was commissioned to commemorate Rome, he is able to portray the city and its architecture through a well respected and scholarly environment uncharacteristic of any known space or time. These characteristics cause the which allows it by creating a fictitious These allegorical characteristics do not become known unless you take a closer look at Picture Gallery with Views of Modern Rome (1757).

Cyriacus Pizzecolli was a true Renaissance man. At age 30 he felt the calling preserve the history around him that he saw being ruined right before his eyes. As an international trader and traveler he knew first hand why the ancient remains were being destroyed, wether it be from poor construction and improper maintenance to people stealing the items. He had a passion for preserving ancient history few others shared, and he knew that if he didn't do something to preserve it, no one would. When Cyriacus “noticed” the “Arch of Trajan” in his hometown he began to wonder what possible secrets it could hold to the birth and history of his city, Ancona. The discovery of what kind of history his own town might have lead him on a life-long journey to learn the history of other cities and the stories they are able to tell.

Both Agricola and Othello live within modern advanced civilizations of their time and as such are called to uphold the societal expectations required within advanced societies. Their drastic differences from the norm of their civilizations, as well as their positions of power leads to an intriguing exploration of the true nature of societies and civilizations. Those who are different are not typically embraced within society and are usually seen as outsiders, however despite their obvious differences these two men were still seen as insiders because of their power and the many benefits they provide to society in these positions of power. The exploration and understanding

Two weeks after arriving in Florence, while walking home from dinner across the river, stumbled upon Piazza della Signoria, for the first time. With the sound of a street performer’s violin in the crisp night air, I sat on the edge of the open-air gallery of statues. I still do not know why the piazza affected me the way it did, but with tears in my eyes, I knew I had found a place in Florence where I could be bitter sweetly happy.

Buildings were demolished and new ones erected. The government’s goal was to refresh medieval Florence with the stylish atmosphere of Paris. The triumphal arch known as the Arcone was erected in 1895. Cafés and trattorias bordering the piazza attracted artists, writers and intellectuals. Today the square is still lined with these popular eating establishments, although elegant shops and art galleries have cropped up among them. The square has become a theater to musicians, street artists and strolling romantics. How thrilling that it was all right outside our door! Since our visit to Florence was just an overnight stay, our location could not have been better.

Welty describes the first steps of reading as “human, but inward...It is to me the voice of the story or poem itself” (Welty 11). Picking up from my knowledge of personification, I gained a new perspective on how books play an impact on how one thinks when reading a piece, as it describes the voice of the book as a human. Having said, this gave me the idea that books establish a personal connection between itself and the reader. Following through with the next chapter, Welty recognizes the value of the summer trips she experienced with her family. She makes an interesting analogy between her trips and reading by calling them “stories. Not only in form, but in their taking on direction, movement, development, change...each trip made its particular revelation, though I could not have found words for it” (68). Connecting this to the title of chapter two, “learning to see” when reading requires looking closely at the small details and soaking it in, in a way that one can look back upon it later. Once one starts to carefully listen and look at the fluidity and rich ingredients a book has, he/she can find their own voice, which leads into the next chapter. Reading spurs imagination which then allows one to explore their own inner being. Welty best describes her encounter of this by explaining “my imagination takes its strength and guides its direction from what

	The tragedy is not Antonio's previous two years of unemployment- it is that he has no future in his new job, due to the theft of his bike. Antonio must face this tragedy with no public support other than his friend Baiocco. Baiocco's willingness to help with his friends and his optimistic response to Maria constitute another case of human optimism. This form of optimism pervades the film with Antonio's perseverance and determination to find the stolen bike. These events stimulate the viewer's mind to think of solutions related to Antonio's situation, perhaps to try to solve problems of post-war Italy such as crime, famine, health issues, living condition, etc.; ills that have affected society then and now around the globe.

aims his focal point at imagery to provide vivid and rich details. Literary devices play a crucial

His works demonstrated a very exceptional and notable way of expressing one’s thoughts. Not only expressing his opinions directly through the Maxims, Guicciardini influenced people indirectly through works such as Storia d’Italia. In this work, in addition to emphasizing the history of the Renaissance, he inserts his vision into the calamity and the treachery of human nature in general. For instance, he focused on human cleverness: “Duke of Milan was committed to give him. All the same, Lodovico with his usual cunning still went on assuring the Pope and Piero de’ Medici of his desire for peace and quiet in Italy” (Guicciardini 136). Guicciardini also commented on Maestro Mariano da Genazzano’s treachery in his preaching “Genazzano came to preach under color of opposing Girolamo; but hinted cleverly from the pulpit that the city should come to agreement with the league, and in private he negotiated with Pierro’s friends” (Guicciardini 63). Throughout Guicciardini’s works, he made tireless efforts to teach the readers about humans’

republican government of the city of Siena as he illustrates the public view with much realistic.

After understanding the idea behind this book, we can notice and appreciate the style of work that this author has in common with Shakespeare. They both belonged to the same generation, hence the nature of their writing, music and art being nearly the same. Shakespeare and Monteverdi took start from a traditional beginning and later on transformed it according to their styles. Massimo Ossi carried out research about the most momentous part of Monteverdi’s work. He developed

Italo Calvino’s extraordinary story, Invisible Cities is a literary accomplishment. Invisible Cities contains of an impressive display of discussions between Marco Polo, the legendary Venetian explorer, and Kublai Khan, the famous Conqueror. The two settled in Kublai Khan’s garden and Marco Polo details, or for all one knows invents, depictions of several wonderful cities. Considering these cities are not ever actually seen, yet only recounted, they are unnoticeable to the emperor. In consideration of the fact that they might not actually exist, they may be truly obscure to all but the reader, who is captivated by the dazzling, foreboding input of Marco Polo. “If I tell you that the city toward which my journey tends is discontinuous in space and time now scattered, now more condensed, you must not believe the search for it can stop. Perhaps while we speak, it is rising, scattered, within the confines of your empire…” (164). The main topic is Marco Polo and the cities he has traveled, or one city in several structures. These expeditions involve cities of memory, trading cities, cities of desire, thin cities, continuous cities and of the sky. The outcome is an intensely intriguing achievement of literature that urges surpassing the borders of the fictional book. Between these enlightening depictions of unfamiliar settings, Calvino allows his readers to indulge in the discussion between two men, one in the middle of his career, the other in