By Matteo Bandello
Vescovo cattolico e scrittore del Cinquecento, Matteo Bandello è autore di un'ampia produzione di novelle, 214 in tutto, pubblicate in tre libri nel 1554 da Vincenzo Busdraghi e in un 4to quantity postumo del 1573. advert alcune delle sue novelle si è ispirato William Shakespeare che, dopo averle lette nella traduzione francese, prese spunto according to le commedie Molto rumore consistent with nulla e los angeles dodicesima notte e anche in step with l. a. tragica storia d'amore di Romeo e Giulietta. Oggi l'opera di Bandello è messa a disposizione dalla casa editrice UTET in una versione digitale critica che non ha precedenti.
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Yet after his apprentice short stones of the 1960s, any representation of his ethnicity simply drops out of his fiction from Americana (1971) through Mao II (1991). As one critic noted in 1990, DeLillo's "name could just as well be Don Smith or Don Brown" since there's "nothing particularly 'ethnic' about his dark comedy" (Aaron 68). It is precisely DeLillo's recovery of his ethnic roots that marks Underworld as his most personal work to date. As DeLillo notes, it was only in reading the galleys for Underworld, with its representation of 1950s Italian-American Bronx life, that he realized he was "reliving experience" through his central character, Nick Shay (whose mother reverts to her Irish maiden name after his father, Jimmy Costanza, disappears), "in a curious and totally unintentional way"; elaborating, DeLillo says, When I first started writing I wrote short fiction, short stories set mostly in [the Bronx] and when I finally got to work on my first novel, Americana — the title itself says something—this was a kind of journey into the broader culture.
Bill pursues Cotter for many blocks —arguing, pleading, cajoling. Bill offers to buy the ball, but when Cotter won't sell the ball, baseball's position as the great Americanizer unravels. Bill, like Cotter, believes in baseball, but from the subject position of a middle-class white male, Bill's belief means something different than Cotter's. And what Bill believes neatly summarizes the American ideology of baseball: I look at you scrunched up in your seat and I thought I'd found a pal. This is a baseball fan, I thought, not some delinquent in the streets.
For Jameson, postmodernism can only be the cultural logic of multinational capitalism. Such a position radically diminishes the possibility of an oppositional aesthetic. In fact, for Jameson, all contemporary aesthetic production has been subsumed by commodity production. In simpler terms, what this means is that the amount of time between the emergence of a new aesthetic form (such as rap music) and its appropriation by Madison Avenue to sell everything from fast food to running shoes has been so radically reduced that the ability of that new aesthetic form to create a critical purchase on the social order has been thoroughly undercut.
Novelle by Matteo Bandello