The Influence Of English On Italian

This series offers a wide forum for work on contact linguistics, using an integrated approach to both diachronic and synchronic manifestations of contact, ranging from social and individual aspects to structural-typological issues. Topics covered by the series include child and adult bilingualism and multilingualism, contact languages, borrowing and contact-induced typological change, code switching in conversation, societal multilingualism, bilingual language processing, and various other topics related to language contact. The series does not have a fixed theoretical orientation, and includes contributions from a variety of approaches.

This series offers a wide forum for work on contact linguistics, using an integrated approach to both diachronic and synchronic manifestations of contact, ranging from social and individual aspects to structural-typological issues. Topics covered by the series include child and adult bilingualism and multilingualism, contact languages, borrowing and contact-induced typological change, code switching in conversation, societal multilingualism, bilingual language processing, and various other topics related to language contact. The series does not have a fixed theoretical orientation, and includes contributions from a variety of approaches.

This pamphlet is dedicated to those English-speaking lovers of Italian who believe that the integrity of the most beautiful language in the world should not be surrendered to the vagaries of Anglo-American jargon.It is almost impossible to calculate how many words there are in any language. The only practical way is to try to identify those words that are considered fundamental and of these, those that are more commonly used. It has been calculated that the Italian language has about 260,000 fundamental words. Of these, 10,000 are generally known but only 2,000 are used on a daily basis.The percentage of foreign, mainly American-English, terms used by present-day Italians is said to vary between 1.7% and 8% of the total words in the Italian dictionary; no assessment has been made of what the percentage is of the 2,000 words in common use...One does not have to be a mathematical genius to draw a moral from these figures...!If, as this essay aims to show, the Italian language is sick, the fault is ours, the Italians'. We must suffer from the same malady; after all, language is but a tool to communicate, make ourselves understood, and express our views, our desires. It is us.We, the Italians, wallow in an orgy of self-deprecation and linguistic masochism, which are an offence to our dignity and traditions and neglectful of the language of art, music, food and style.Arturo Barone is a retired solicitor, born in London of Neapolitan parents. He completed his studies in Italy where he took his first Law Degree. In this booklet he considers, with a highly critical eye, the deterioration in the use of the most beautiful language in the world as a result of the influence of English and American terms and expressions.He records the circumstances in which the impact of American and English 'culture' have developed at an ever-increasing pace since the end of the Second World War, reaching the conclusion that neither has been linguistically beneficial for Italy; more particularly, he considers the consequences that the indiscriminate abuse of an alien manner of speaking has had on the psyche of the average Italian.He maintains that his compatriots are oblivious both to the linguistic and to the psychological detriment of accepting as normal, if not desirable, the use of English and American words.

This volume is the first comprehensive study of the influence of English Pre-Raphaelitism on Italian art and culture in the late nineteenth century. Analysis of the cultural relations between Italy and Britain has focused traditionally on the special place that Italy had in the British imagination, but the cultural and artistic exchanges between the two countries have been much misunderstood. This book aims to correct this imbalance by placing Pre-Rapahelitism in its European context. It explores the nature of its influence on Italy, how it was transmitted, and how it was manifested, by focusing on the role of Italian Anglophiles, the English communities in Florence and Rome, the writings of Gabriele D'Annunzio, and a number of Italian artists active in Tuscany and Rome. The works of Cellini, Ricci, Gioja, De Carolis, and Sartorio in particular fully demonstrate the impact of Pre-Raphaelitism on the young Italian school of painting which found in the English movement an ideal link with its glorious past on which it could build a new artistic identity. These artists show that English Pre-Raphaelitism was one of the most powerful single influences on fin-de-siecle Italian culture.

Excerpt from The Influence of Italian Upon English Literature: During the Sixteenth and Seventeenth Centuries In the following pages an attempt is made to estimate accurately the nature and extent of the influence exercised by Italy upon the English writers of the Elizabethan and Stuart periods. General remarks upon the Renaissance and its developments in different parts of Europe have been avoided, except where they served to illustrate the special subject of consideration. So much has been written upon the Renaissance that it seemed unnecessary to repeat what has already received all but universal recognition. But it is possible to show almost exactly how much English Literature owes to Italy, as distinct from the debt due to other countries, and from the undefinable influences which are abroad in an age like that of the Renaissance. To show when and how this debt commenced, how it accumulated, and what the consequences were to the debtor is the object of this essay. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.