By Alberto Moravia, Michael F. Moore
Thirteen-year-old Agostino is spending the summer season at a Tuscan beach hotel along with his appealing widowed mom. while she takes up with a cocksure new spouse, Agostino, feeling overlooked and unloved, starts off striking round with a bunch of neighborhood younger toughs. although repelled via their squalor and brutality, and again and again humiliated for his weak point and lack of knowledge by way of ladies and intercourse, the boy is more and more, masochistically attracted to the crowd and its tough video games. He unearths himself not able to make feel of his emotions. Hoping to be jam-packed with manly calm, he's in its place beset by way of to blame interest and an pressing wish to sever, at any fee, the thread of sensuality that binds him to his mom.
Alberto Moravia's vintage, startling portrait of innocence misplaced used to be written in 1942 yet rejected through Fascist censors and never released till 1944, while it grew to become a top vendor and secured the writer the 1st literary prize of his profession. Revived the following in a brand new translation by way of Michael F. Moore, Agostino is poised to captivate a twenty-first-century viewers.
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Extra info for Agostino
Herington 1985: 27, 231 n. 68; Robbins 1997: 255. 84 JV. 10: Gannata Fera 2001: 159. P. 5: Krummen 1990: 114—16. /. 4: Krummen 1990: 93. 0. 3: Krummen 1990: 235—6. P. n: Bernardini in Gentili et al. 1995: 286. JV. 4: Willcock 1995: 100. 85 2 J\f. 87 Assumptions about the mode of performance (whether choral or solo) and about performance contexts (whether at a sanctuary in the context of a festival or at the victor's house in the context of a symposium) feed into assumptions about whether epinician poetry was public or private, and whether it was destined for an inclusive citizen audience or an exclusive aristocratic one.
459—76; Rossi 1952: 30—1; Bowra 1964: 42-98; Portulas 1985: 226—7. The patron's beliefs: cf. Wilamowitz 1922: 252; Thummer 1957: 7, 20 i, 43, 50 i, 53 4; Davison 1960: 204; Willcock 1995: 139. In general see Lloyd-Jones 1990^: 102-3. 7 A comparison may be made with the political views of the odes. 10 To the extent that they are so, this may be due to the shared interests and common outlook of the patrons of the odes. 12 However, the former interpretation is supported by the mythical examples of Semele and Ino in the verses immediately preceding: 'Semele lives on .
1 [Jirjvis . . 1; Plat. Hipp. mai. 282ay—8 leg. 865d6-e6; Aesch. Cho. 40—1, 293—4, cf. 278 (^vi^ara Lobeck), 326; Soph. Tr. 1201 —2 (cf. 1239-40); Paus. 17; Plut. Cim. 5. See Johnston 1999: 21,15520 21 Gf. Aesch. Cho. 32—41,523—39; Paus. 8; Plut. Cim. 5. See Gh. 8 for further discussion of this fragment. 22 However, we should be careful that a strong contrast between Dirges and Epinicians is not maintained at the cost of circularity, fragments being assigned to the Dirges simply because they offer a positive view of death.
Agostino by Alberto Moravia, Michael F. Moore