Add to ORKGThrough a wealth of documentary evidence it is possible to show how Dickens' farcical plays owe their inventiveness and structural plotting to such dramatic sub-genres as the burla, burletta, or to melodrama (opera and operetta), but mostly to the old canovacci of the Commedia dell'Arte
Dickens's reception in Italy developed along two Lines, a highbrow one and a more popolar one. The l...
The essay surveys Dickens's reception in Italy, with specific focus on those Italian auhtors who wer...
Shakespeare as adaptor of consolidated oral conventions and experiences nelonging abroad and to an e...
Documentary evidence shows that Dickens farcical plays owe their structural inventiveness to the c...
The operas of Wolfgang Amadeus Mozart are fascinating examples of the genre as it existed in the Cla...
For a very long time from the Romantic age to the end of World War Two, culturally speaking, Italy w...
Dino Buzzati and Mirando Haz have interpreted Dickens's Christmas stories in their own creative work...
International audienceReal or alleged Southern horrors provide inspiration for Charles Dickens’s acc...
This book, arising from a major international conference held in Genoa in 2007, focuses primarily on...
This essay made its early appearance in a volume entitled Dickens and Italy: Little Dorrit and Pictu...
Representation of madness in opera is usually presented for dramatic purposes, especially in the 19t...
Future work on the comparative question of Shakespeare’s relationship to the commedia dell’arte must...
THe paper focuses on Dickens's early translations and impact his novels had on the Italian prose of ...
This thesis examines how the commedia dell’arte manifested in the English imagination in the period ...
Dickens's bicentenary in 2012 is celebrated by the Museo del Precinema in Padua with this book in wh...
Dickens's reception in Italy developed along two Lines, a highbrow one and a more popolar one. The l...
The essay surveys Dickens's reception in Italy, with specific focus on those Italian auhtors who wer...
Shakespeare as adaptor of consolidated oral conventions and experiences nelonging abroad and to an e...
Documentary evidence shows that Dickens farcical plays owe their structural inventiveness to the c...
The operas of Wolfgang Amadeus Mozart are fascinating examples of the genre as it existed in the Cla...
For a very long time from the Romantic age to the end of World War Two, culturally speaking, Italy w...
Dino Buzzati and Mirando Haz have interpreted Dickens's Christmas stories in their own creative work...
International audienceReal or alleged Southern horrors provide inspiration for Charles Dickens’s acc...
This book, arising from a major international conference held in Genoa in 2007, focuses primarily on...
This essay made its early appearance in a volume entitled Dickens and Italy: Little Dorrit and Pictu...
Representation of madness in opera is usually presented for dramatic purposes, especially in the 19t...
Future work on the comparative question of Shakespeare’s relationship to the commedia dell’arte must...
THe paper focuses on Dickens's early translations and impact his novels had on the Italian prose of ...
This thesis examines how the commedia dell’arte manifested in the English imagination in the period ...
Dickens's bicentenary in 2012 is celebrated by the Museo del Precinema in Padua with this book in wh...
Dickens's reception in Italy developed along two Lines, a highbrow one and a more popolar one. The l...
The essay surveys Dickens's reception in Italy, with specific focus on those Italian auhtors who wer...
Shakespeare as adaptor of consolidated oral conventions and experiences nelonging abroad and to an e...