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  • English  (7)
  • Italian  (2)
  • Corgnati, Martina
  • לוי, פרימו
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  • English  (7)
  • Italian  (2)
  • German  (1)
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  • 1
    Language: English
    Year of publication: 2016
    Titel der Quelle: Interpreting Primo Levi
    Angaben zur Quelle: (2016) 129-145
    Keywords: Levi, Primo, Criticism and interpretation ; Holocaust survivors' writings ; Nazi concentration camps in literature ; Space and time in literature
    Abstract: “I’ve always thought that bridges are the most beautiful work there is,” remarks Tino Faussone in Primo Levi’s 1978 book The Wrench (La chiave a stella).1 Levi’s rigger-protagonist appreciates bridges because “they’ll never do anybody harm; in fact, they do good, because roads pass over bridges, and without roads we would still be like savages. In other words, bridges are sort of the opposite of boundaries, and boundaries are where wars start.”2 The nomadic Faussone enjoys seeing the world while “going from one construction site to another,” appreciating the diversity of the planet: “the world is beautiful because it’s all different .”3 Typically working at interstitial places such as shorelines, riverbanks, or on an offshore oil rig that is “like an island, but … an island we had made,” Faussone is a “Homo faber” who finds meaning in work performed well. The rigger’s wrench is, for Faussone, also a key to the stars whose dust he finds on top of the tall constructions he has helped to erect.4 A celebration of the “freedom” attainable from “being good at your job and therefore taking pleasure in doing it,” Faussone demonstrates Levi’s argument that freedom means “not having to work under a boss.”5
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  • 2
    Language: English
    Year of publication: 2016
    Titel der Quelle: Interpreting Primo Levi
    Angaben zur Quelle: (2016) 115-127
    Keywords: Levi, Primo, Criticism and interpretation ; Holocaust survivors' writings History and criticism ; Italian fiction Jewish authors ; History and criticism ; Smell in literature ; Smell Psychological aspects ; Memory in literature
    Abstract: Smell is a primary and primitive sense; it is our “chemical” sense, as the French geographer Jean-François Staszak states.1 The sense of smell begins with the contact between a molecule and a cell. The stimulus (a set of odorant molecules) is processed by the brain together with other information, both contextual (visual, tactile, and olfactory) and emotional.2 The brain, as the anthropologist Joël Candau explains, identifies, names and categorizes these pieces of information, creating an olfactory image.3 In this complex process, the data that an individual has stored during a lifetime produces olfactory traces. The social and cultural environment and the biography of the individual determine what these traces are. At the end of this “operation,” according to Candau, the stimulus “is codified in the long-term memory in the form of a new olfactory trace.”4 Therefore, individuals carry their own personal, subjective, and intimate olfactory cultures and memories. Two different persons can smell the same odor, but each one memorizes and collects different traces.
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  • 3
    Language: English
    Year of publication: 2016
    Titel der Quelle: Interpreting Primo Levi
    Angaben zur Quelle: (2016) 7-20
    Keywords: Levi, Primo, Criticism and interpretation ; Améry, Jean Criticism and interpretation ; Holocaust survivors' writings History and criticism ; Holocaust, Jewish (1939-1945), in literature ; Holocaust survivors Psychology
    Abstract: Primo Levi was the twentieth century’s preeminent witness—preeminent both in general and, more specifically, among the voices that sought to draw attention to the shape of its central disfiguring tragedy. Levi attained this position because, as Philip Roth wrote of him shortly after his death, he had “the moral stamina and intellectual poise of a twentieth century Titan:”1 Levi’s name will forever be associated with Auschwitz, where he was imprisoned between February 1944 and January 1945. Indeed, he himself later said that but for his time there he would probably not have become a writer.2 I find this hard to credit in view of his exceptional wisdom about life and the world even as early as his mid-20s, when he composed his memoir of Auschwitz, If This Is a Man.3
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  • 4
    Language: English
    Year of publication: 2016
    Titel der Quelle: Interpreting Primo Levi
    Angaben zur Quelle: (2016) 51-63
    Keywords: Levi, Primo, Criticism and interpretation ; Holocaust, Jewish (1939-1945) Study and teaching ; Holocaust survivors' writings History and criticism
    Abstract: In the winter of 2011, I took a graduate seminar on Holocaust Life Writing. In this particular course, “Life Writing” was defined (and problematized) as autobiography, memoir, and letters. Primo Levi’s The Drowned and the Saved was our last text. During our first week of discussions of Levi, a student rejected the text. I remember feeling uneasy—everyone stopped talking and sat in silence—not a productive, contemplative silence, rather a deeply terrified silence. The student expressed hatred, overtly saying: “I hate him!” Our classroom discussion halted abruptly. Then, suddenly, students tried to intervene; without listening, they policed the space, now turned unsafe. They attacked the student, attacked the professor for not diffusing the “hate” comment. In the midst of this emotional outburst, I kept wondering whether the student hated the text, hated Levi, or both. What exactly was at stake in this expression of hatred? More importantly, what did it mean to hate a Holocaust survivor, someone who had survived extreme and overt forms of hatred: deportation, dehumanization, torture, and genocide? We never really asked the student to explain the expression of hatred toward Levi. The topic was left and never brought up again, never worked-through. We continued attending class with an incredible silence between us, a divisive energy that seemed irreconcilable. Our class discussions skirted around the articulation of hatred but never addressed what it meant directly.
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  • 5
    Language: English
    Year of publication: 2016
    Titel der Quelle: Interpreting Primo Levi
    Angaben zur Quelle: (2016) 67-81
    Keywords: Levi, Primo, Philosophy ; Holocaust survivors' writings History and criticism ; Holocaust, Jewish (1939-1945) Moral and ethical aspects
    Abstract: Since at least Socrates, reflection on human mortality has been central in philosophy. It has been taken as virtually axiomatic that death is the worst that can befall us and that if we are not to die ignominiously we must prepare ourselves for death. Hence it is that philosophy has long seen itself as telling us that we should seek to develop the kind of attitude toward death that allows us to do that. Indeed, philosophy has often seen itself as a form of this preparation: the act of philosophizing, so the thought goes, is itself a kind of dying, since it involves a withdrawal of the thinking self from world and body, and thus mirrors or models death in some way. At another level, philosophy might help with preparing us for death by offering concrete suggestions for thinking about it less fearfully. Socrates, Plato, Seneca, Lucretius, Montaigne, Spinoza, Heidegger, and countless others repeat this sense of the relation between philosophy and death, inflected in numerous different forms and styles.
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  • 6
    Language: English
    Year of publication: 2016
    Titel der Quelle: Interpreting Primo Levi
    Angaben zur Quelle: (2016) 173-186
    Keywords: Levi, Primo, Literary style ; Holocaust survivors' writings History and criticism ; Jewish authors ; Holocaust, Jewish (1939-1945), in literature
    Abstract: Amoral urgency of testimony and an untiring scientific curiosity stand out as the distinguishing characteristics of Primo Levi’s works. His eminence as a witness, however, is not the only reason for his rhetorical effectiveness: Levi systematically deploys the ethical authority of literature in his writing, both as an institution and as a set of discursive practices, through a system of citations and representations modeled on canonic texts, from Homer to Shakespeare and Rabelais. His meditations on ethics and testimony are constantly in dialogue with literary tradition, from Dante in If This Is a Man, to Manzoni in The Drowned and the Saved.3
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  • 7
    Language: English
    Year of publication: 2016
    Titel der Quelle: Interpreting Primo Levi
    Angaben zur Quelle: (2016) 37-49
    Keywords: Levi, Primo, Criticism and interpretation ; Holocaust survivors' writings History and criticism ; Nazi concentration camp inmates Language ; Holocaust, Jewish (1939-1945), in literature ; Translating and interpreting in literature
    Abstract: “We can and must communicate,” Primo Levi states uncompromisingly at the beginning of the chapter “Communicating” in I sommersi e i salvati (The Drowned and the Saved). He sharply dismisses the notion of incomunicabilità—the inability of alienated individuals in capitalist societies to convey thoughts or feelings to others—made famous by the debates arising from the films of Michelangelo Antonioni, and makes his point by referring to a scene from one of Antonioni’s films, The Red Desert (1964). Toward the end of the film, the main character wanders around a harbor at night and meets a Turkish sailor. In broken Italian sentences, she attempts to tell him about her feelings of disorientation and aimlessness; the sailor repeats, in Turkish, that he cannot understand her, but offers coffee and help. While Antonioni’s scene focuses on the two characters’ failure to communicate, Levi’s reading emphasizes their attempts to do so: they do not have a common language, but they do try to speak to each other. “On both sides … there is the will to communicate,” stresses Levi:We can and must communicate. It is a useful and easy way of contributing to people’s peace of mind, including our own, because silence—the absence of signals—is in itself a signal, but it is ambiguous, and ambiguity produces unease and suspicion.1Human beings, he adds, are “biologically and socially predisposed to communication” because they can speak, and therefore refusing to communicate is ethically wrong (“è colpa”).
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  • 8
    Book
    Book
    Milano : Edizioni Gabriele Mazzotta
    ISBN: 882021072X
    Language: Italian
    Pages: 58 Seiten , Illustrationen
    Year of publication: 1993
    Keywords: Künstlerin ; Malerei ; Ausstellung
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  • 9
    Book
    Book
    Tel Aviv
    Language: Italian
    Pages: 127 Seiten , Illustrationen
    Year of publication: 2014
    Keywords: Künstlerin
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