De Andrè’s characters are usually prostitutes and rebels, failures and all those who find it impossible to live and survive in the cold and cynical society affected by the outcome of the second world war. We can therefore state that the so called excluded, i.e. people who are forced to live a miserable and disgraceful life, are particularly held dear by this Genoese “storyteller”. But De Andrè’s work has been influenced by French, English, Asian and American composers and poets. One of the most famous ‘thefts’ committed by the singer is from Edgar Lee Masters and his “Spoon River Anthology”. Poet and writer Edgar Lee Masters was born in Kansas, Illinois in 1869 and raised on his family’s farm.
Despite the gleeful environment of his childhood,
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The underlying thread of both works is the theme of death. Thomas Hardy handles the matter in a serious and sometimes holy way, describing death as a mysterious, frightening but not grim event. On the other side Lee Masters behaves in an embarrassing and fearful way towards the end of life. His descriptions are full of compassion and thoughts. His way of approaching the phenomenon of death can be considered as more human since he does not have the coldness needed to face it as a natural episode. The American writer describes the immediate reaction to death and through the epitaphs he tries to ensure the survival of his characters with peculiar descriptions making each of them inimitable.
As stated above, Spoon River Anthology is Masters’ masterpiece, the work that made him famous worldwide. But it was also the book setting him against his fellow citizens, who criticized him for publishing private events and truths.
For this reason Lee Masters was excluded by the society he lived in and was forced to live a miserable life until his neglected death in
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For the whole book and for the whole album, both authors question some of the most fundamental issues and certainties of the society they live in. In this regard the main difference between Non al Denaro, non all’Amore né al Cielo and Spoon River Anthology is that the Italian composer does not give names to the described characters, except for Fiddler Jones which shall be mentioned later, and this because he wants to underline that the excluded do not limit their actions to their life, but rather they represent the behaviors and misconducts that can be found in every society, in every place and in every historical period.
Here follows the original text in Italian of the song Dormono sulla Collina and its English translation.
This piece introduces, as in Lee Masters’ anthology, the entire work and represents the skills of the Italian composer in rewriting the original texts. De Andrè includes in this song twelve citizens of Spoon River who are now resting in the cemetery.
Fernanda Pivano, Lee Masters’ translator, affirmed during an interview that De Andrè’s reinterpretation of Masters’ literary work far outperformed its
Colleen McElroy spent much of her youth on the move. She began to write and teach to tell her stories. The explorations of cultural heritage in the poems by Hughes, Clifton, and McElroy can be compared and contrasted in many different ways. The first comparison and contrast of the explorations of cultural heritage is between Langston Hughes and Lucille Clifton. In Clifton’s poem “Study the Masters”, she tells about workers who watch their masters do the things she dreamed of doing.
There is more to this story than just the interesting story of Paul and the drama that is his life. This critical analysis aims at uncovering some of the aspects of this piece of literature such as the style of writing, the genre, the narrator’s point of view, the
Each tune attempts to paint a scene whose variable natures are somehow connected. Sturdy and concise, the 6/8 “A & R Italian Eatery” relies on precise unisons and
The environment he was in, surrounded by all these awful people, influenced
His early years helped him become a rebellious person.
His parents and the government system failed him in getting the help he needed as a child. During his stay in the orphanage, no parents visited him and as a result, he worried they were dead. They chose not to visit him which proves the amount of neglect he endured throughout his early life. At age fourteen he moved to Downey, California where his father later died that year from cirrhosis, a disease that attacks the liver. As a teen, he began molesting children and it continued until he graduated from high
Throughout the history of American Literature, there have been hundreds of influential pieces which have left a mark on other writers. The book “In Honor of David Anderson Brooks, My Father” by Gwendolyn Brooks utilizes a unique writing style, theme and American values. This text was sharing her father’s story and personality to the reader before he passed away. He presumably lived alone and maintained his own home.
The extensive changes he had implies that he was suffering from BDD. It is theorized that if he had gotten help with his issues, maybe then he would have not faced his untimely
Alongside this, the essay will also analyse how the opera as an entirety critiques the social order of the time. The story reflects the 18th century social battles between the lower class servants and their aristocratic masters, dealing with the machinations in their relationships impeded by rivalries, jealousies and vengeance. The Marriage of Figaro was written
The setting is dark, enormous sea symbolizing nature. It is not an ordinary setting; rather very active in the lives of the characters and has contradictory qualities. It has seven sections and each section is told from the point of view of an anonymous correspondent. The first part introduces the four characters-the
Italo Calvino Literary Analysis “It is not the voice that commands the story; it is the ear.” (Italo Calvino) Italo Calvino was a famous Italian writer who wanted his life to be known and wanted the people to be interested in his stories. It was not only about what he wanted, it was about what the people wanted to hear. He did not just want to make his stories, he was striving to catch the eye of the readers. Italo Calvino’s writings were inspired mainly by his experiences in the war and acquaintances.
I’m not saying his life was perfect, but in many peoples point of view, including myself it seems like he was privileged. Now obviously people see things differently. Maybe in his point of view he just feels the need to abandon everything and he didn’t like his life. In Chris Ingram Remove The Bus essay about Into The Wild he states “For him to sever contact with his family and loved ones and die of simple starvation is just terribly sad and selfish (Online Source).” I completely agree with Chris Ingram.
I attended to a concert performed by the San Francisco Symphony Youth Orchestra on November 13th this year. This concert took place in the Davies Symphony Hall in San Francisco. I chose to attend to this concert because I have never been to a performance by any youth orchestra, I was curious to see how their performance would compare to other orchestras. The first of the three piece that were performed in this concert was Maenads’ Dance, from The Bassarids, composed by Hans Werner Henze. A variety of instruments were used in this piece, including woodwinds, brass, percussion, and strings.
Besides the author and the reader, there is the ‘I’ of the lyrical hero or of the fictitious storyteller and the ‘you’ or ‘thou’ of the alleged addressee of dramatic monologues, supplications and epistles. Empson said that: „The machinations of ambiguity are among the very roots of poetry”(Surdulescu, Stefanescu, 30). The ambiguous intellectual attitude deconstructs both the heroic commitement to a cause in tragedy and the didactic confinement to a class in comedy; its unstable allegiance permits Keats’s exemplary poet (the „camelion poet”, more of an ideal projection than a description of Keats actual practice) to derive equal delight conceiving a lago or an Imogen. This perplexing situation is achieved through a histrionic strategy of „showing how”, rather than „telling about it” (Stefanescu, 173 ).
All the three works of group three extend the novelties of group two. “Ecco mormorar” and “S’andasse Amor” adventure the florid writing in them, while “Memtr’io mirava” shares its move to distant harmonic areas. However, there are two traits that are very difficult to define that unite these madrigals; one is an ability to bring to music the syntactic and meaning organization of text and a structural coherence of a rigor which is unknown to Monteverdi’s earlier works. All the listed characteristics and especially the last one, are exemplified in the “Ecco mormorar l’onde” which happens to be Monteverdi’s most famous madrigal of the second madrigal books. The texts of “Ecco mormorar l’onde” is a fourteen-line that illustrates the pastoral dawn, a sort of landscape poetry in which Tasso shined .