ERODIADE. Online Journal

Erminia Passannanti is an Italian poet and the translator into Italian of, among others, Geoffrey Hill, Seamus Heaney and Sylvia Plath, R.S. Thomas. (...) Her use of the free verse is unusual from an English-speaking view, or maybe merely from a current British perspective, in that it is dominated and controlled by considerations of syntax-structure alone.  This is further characterized by a large amount of disruption to normal syntax in the interest of irony, elegy, farse and point. Added to this, there is the use of language from a variety of registers and periods to create telling juxtapositions and sometimes expressionist and surreal effects. Phrases of memorial cultural significance are scrambled, rearranged and connected in surprising and shocking ways; the tone context of images is subverted and thwarted by such collocations and the vision travesties and contravenes expected codes of languages as with a dissociating mind. These shifts and contrasts are frequently slight - but de

  "Macchina" di Erminia Passannanti Recensione di Francesco Mandrino Piero Manni, Lecce 2000, pp. 127 Avrebbe potuto essere per me un libro come altri, non tanti ma nemmeno l'unico, un bel libro di poesie la cui lettura si rivela, pagina dopo pagina, coinvolgente dal lato dei sentimenti. Non sarebbe mancata la materia di cui scrivere né le sfaccettature da far rilevare; voglio fare qualche esempio fra i più immediati, là, tanto per capirci meglio. La poesia "il Re, le Parole" (p. 25), scritta necessariamente prima del martedì 11 settembre 2001, e di tutto quanto è stato detto e scritto dopo quel giorno in cui la storia ha vestito la tragedia. I primi tre versi, "A me la vita non piace / e non posso cambiarla. // Mi sforzo allora", speculari agli ultimi tre, "nella speranza che il male e il bene // non mentano più e smettano / di sembrare diversi." , il riferimento potrebbe apparire immediato se non disponessimo delle dat

 Conferenza di Italianistica. Taormina. 22-24 maggio 2008.

Erminia Passannanti is an Italian author, poet, and independent academic researcher k nown for her work in the fields of anglophone literature, poetry, cinema, censorship, religion, and cultural anthropology. Educated in Foreign Languages and Literatures at the University of Salerno, she holds a First-Class Honours Degree in this field and has obtained two PhDs, one in Italian literature from University College London (2004, England, UK) and the other in Social Sciences and Media Communications from Brunel University 2014, (England, UK). Her work explores the interplay between different authors, movements and literary traditions, particul arly focusing on the dynamic between Italian and English-American languages, literatures and cultures.  Her poetic works reflect a blend of her Italian cultural roots and her exposure to and engagement with Anglo-American literature and culture. Her own poetry is close to various authors she has written about and translated, including the Brontë siste

Dov'era l'ombra, or sé la quercia spande morta, né più coi turbini tenzona. La gente dice: Or vedo:era pur grande!   Pendono qua e là dalla corona i nidietti della primavera. Dice la gente: Or vedo:era pur buona!   Ognuno loda, ognuno taglia. A sera ognuno col suo grave fascio va. Nell'aria, un pianto… d'una capinera che cerca il nido che non troverà. Giovanni Pascoli's poem "The fallen oak" is a powerful reflection on the fleeting nature of life and the transience of our existence. The metaphorical language and style employed in the poem underscore this theme, creating a poignant and thought-provoking meditation on mortality. The opening lines of the poem, "Where was the shadow, now the oak spreads / dead, nor more with the whirlwinds fight," present a striking image of a once-mighty tree that has fallen and now lies lifeless. The oak, a symbol of strength and endurance, is now powerless against the forces of nature that once challenged it. The

  Monday, 20 December 2021 10:55 Britain in 2021 Written by Rip Bulkeley in Poetry 111 "Dark Valley" by Aldo Echevarría Britain in 2021 after Shelley’s ‘England in 1819’ by Rip Bulkeley An old, bad, foolish and decaying state, Riddled with racism from empire’s store; Maltreated refugees, war’s graduates,