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Folk Legends. Colbert, J.
Diederichsen, U. Kassel University Press. Eisler, A. Neophilologus, 66, Franci, G. La Bella addormentata: Edizioni Dedalo.
Jacob Grimm und das deutsche Recht. Dieter- ich. Mazzoleni, E. La Bella addormentata nel bosco: Rivista Internazionale di Filosofia del diritto, 91 2 , La piccola guardiana di oche: Rivista In- ternazionale di Filosofia del diritto, 92 4 , Il diritto nella fiaba popolare europea.
Mueller, G. Bottigheimer, Fairy Tales and Society. Illusion, Allu- sion, and Paradigm University of Pennsylvania Press. Murphy, T. The Fairytale and Plot Structure. New York: Palgrave MacMillan. Perrault, C. Propp, V. Morphology of Folktale. University of Texas Press. Ranke, K.
Folktales of Germany. Roberts, K.
Once Upon the Bench: Rule Under the Fairy Tale. Soriano, M.
Les contes de Perrault: Tatar, M. Princeton University Press. Thompson, S. The Folktale. University of California Press. Wrenn, L.
Law and the Brothers Grimm. Studia Canonica, 13, Yeats, W.
Fairy and Folk Tales of the Irish Peasantry. Walter Scott.
Zipes, J. Lon- don: The Brothers Grimm. From Enchanted Forests to the Modern World. The Com- plete First Edition. Related Papers. By Rosa Ines Caycedo Panqueba. By Edyta Janasik. A Fairy Tale from before Fairy Tales: By Jan Ziolkowski. By Anita grigoryan. Download pdf. Remember me on this computer.
Enter the email address you signed up with and we'll email you a reset link. One exhibition dedicated to an emerging Italian artist completes the programme. Following the success of the inaugural retrospective of the work of Lucio Fontana, Tornabuoni Art presented group show The Die Is Cast, around Italian abstraction, and dedi- cated its second solo exhibition to great Italian sculptor Arnaldo Pomodoro.
The gallery also works closely with museums and institutions for expertise and guidance and with its experience and thorough knowledge of the work of the art- ists it represents, it has established itself as an advisor for both private and public collections. These artists were Italian-speciic dialogue between high and popular culture.
Schifano revisited the concerned with the same notions of mass culture and mechanical reproduction as history of art from Da Vinci to the Futurists through Constructivism, using art his- their American counterparts, but through the spectrum of Italian culture.
With the growth of tourism, these icons were used to advertise the Italian way of life, and mass reproduced to commercial ends.
This concern with mechanical reproduction resulted in a fertile dialogue with the representatives of Arte Povera. Mario Ceroli b. The s were a time of economic renewal and growth in Italy. Rooless cars and sunglasses were the order of the day and cinema contributed to propagate the image of the Italian lifestyle of Dolce Vita.
Finally, self-relexively tackling the problem of American global inluence, Franco Angeli unites both aspects of Italian Pop Art through the symbol of the Lupa Cap- itolina the wolf feeding Romulus and Remus , as a reference to the founding myth of that obliterated the violence of the historical reality. In this modern society of visual communication, images were ever more numerous and widely difused.
They were also increasingly important, because their power was de facto greater. The question formulated by W. A relection around the new power of visual communication soon permeated artis- tic research. But what were in this sense the speciicities of Pop artworks produced in Italy by Italian artists?
The modernity of these new ubiquitous images was discernible above all in the ways in which they were visual- ly communicated. The vibrant and shiny graphics with artiicial colours that were no limits of substance. The desire for mythycisation As a consequence, pop artists also began creating works that had the same borne by these modern images was served inevitably and in equal measure by the characteristics, the same desires and the same volitions as the images that sur- tools and the language employed by their makers.
The myth, in fact, never resides rounded them.