Filippo

How are the tensions between social classes and/or genders dramatised in Modern European Drama? Social class and gender roles, were and still are today, a key element in the progression of theatre. Dada and Futurism, as movements in theatre took place at the time of the social class war, the prejudice against women and their rights and the struggle to create an equal society. The two movements, of avant-garde style contained three stage in which they were able to create; ‘analysis…engagement…forward

The first Manifesto I read was “The Foundation and Manifesto of Futurism” by Marinetti. Marinetti highlights various concepts behind the futurist movement. Throughout his manifesto he describes old versus new and personifies several places and machines. Like when he spoke of his automobile he said “We approach the the three panting beasts to stroke their burning breasts, full of love and admiration.” (Marinetti 643). He says that finally the old and mystical ideals and myths are far behind them.

time is when Michele makes a tragic discovery of a young, kidnapped Filippo who is chained up in a hole and made to live in the most inhumane conditions. Through the finding of Filippo Michele’s innocence becomes a thing of the past as it uncovers the truth about the real monsters in Aqua Traverse. Although, Michele never loses sight of his strong belief in the values of trust and loyalty even with his regretful selling out of Filippo to Salvatore Scardiccione and Pino’s (Papa’s) to deter him from knowing

encounter Filippo Argenti, a long time enemy of the Guelph’s. The reader is struck with an image of a wrathful Dante and Virgil and must decide whether or not their actions are justified. What the reader perceives as fair is the deciding element that reflects whether or not he/she too is wrathful. Within lines 31-66, Filippo emerges from the river to ask who is in hell before his time. Dante also asks who he is and Filippo answers that it is he who weeps. Dante does not show Filippo pity and instead

Filippo is not the only victim in I'm not scared; explain. The novel, I’m Not Scared written by Niccolò Ammaniti explores the playful and volatile world of childhood through the eyes of nine-year-old Michele, who is forced, again and again, to make the hard choices that will define his character. The novel, I’m Not Scared written by Niccolò Ammaniti explores the playful and volatile world of childhood through the eyes of nine-year-old Michele, who is forced, again and again, to make the hard choices

actions of characters, Pino and Skull. Filippo is shown little to no caring what so ever. However Michele in one of the only characters to show caring and compassion actions towards another being. Pino is man driven by the hope “to go away from Acqua Traverse” (pg 157). To do this he becomes cruel and an emotional manipulator. He plays on the emotions of his son Michele telling him “it’ll be your fault” (pg 156). He doesn’t tell his son who will kill Filippo. Using Michele loyalty against him, Pino

Christian art throughout the Italian Renaissance period reveals an interest in the individual’s experience of the world. The two artists, Giotto di Bondone and Filippo Lippi reflect this interest through their artworks. Not much is known about Giotto’s early life. His date of Birth remains unknown however it is believed to be between 1266 and 1276. According to legend he was the son of a poor Shepard in a small town near Florence (Italy). Cimabue a famous Italian painter of the time discovered

he finished the forfeit, that would change Michele's life, even though he didn't know it yet, he found the boy who would become like his brother, his name was Filippo and he is with Michele's father. Even though Michelle was not aware of who was responsible he was going to get to the bottom of it, he made a very important promise to Filippo, he told him he would come back every day with food and water or with whatever he could find to help him (Ammaniti 44). Once again Michael is scared, but this

Terraferma, directed by Emanuele Crialese targets the European refugee crisis through Filippo’s, an Italian fisherman, encounterment with several refugees on the sea and shows how his situation affected his life and the people around him. Unlike Filippo who feels guilty for the deaths of many refugees, Arsalai shows that European politicians deny being responsible for the refugee crisis by analyzing articles and documents in the article Who is really responsible for deadly refugee journeys?. Both

there with the other dogs!"   Dante's and Virgil's scorn seems at first glance to echo the sin of intemperate anger which infects the foul waters of the Stygian marsh. Filippo Argenti, the weeping sinner who emerges from the mire, is eternally punished for his anger. However, the pilgrim's denunciation of Filippo is not only permitted, but lauded by Virgil with the praise given Jesus: "Blessed is the womb