Titlebook: Neorealism and the "New" Italy; Compassion in the De Simonetta Milli Konewko Book 2016 The Editor(s) (if applicable) and The Author(s) 2016

行業(yè)

Neorealism and Filmsthese films are: their focus on the anguish generally felt by Italians after the war, the artists’ social commitment to generating cultural changes, a contrast between melodramatic scenes and scenes of notable crudeness, on-location shooting, prevalence of scenes depicting war-damaged urban centers,

腫塊

暫時別動

Emotions in Neorealismly refer to them and how emotions in neorealist texts were understood in shaping life experience, moral codes, and pre- and post-Fascist society in general. Until now, scholars have not provided a systematic examination of this relationship. This section offers a concise overview of these accounts i

含糊其辭

神圣在玷污

Compassion and Pity, Sympathy, and Empathyn the use of the terms ., ., ., and . in theoretical discourses. The examination by theorists such as Young-Mason, Nussbaum, Whitebrook, Porter, and Switankowsky will be considered. This chapter clarifies that unlike other examinations of compassion, the present work is centering on the political an

逢迎春日

Coronary-Spasm

Rethinking Compassion in Light of Neorealismemotions formerly examined to some neorealist texts to demonstrate that in certain instances those theories need to be reevaluated. For instance, neorealist works invite discussions concerning the relationships among compassion and rational practices, evaluated inquiries, and the sufferers’ responsi

大酒杯

RENIN

Compassion in Ginzburg’s Depictions of Family Relationshipshe author highlights the negative consequences of such behavior for others and suggests both self-criticism and depth of the Fascist culture’s influence on society. The author’s portrayal of the compassion offered by both Uncle Cesare and Adriano illustrates a model of male identity that values emot

THROB

Moravia’s Representation of Compassioned to find permanence and stability. The female protagonist’s compassionate reactions, or their absence, draw attention to creative ways for envisioning women’s refusal of exploitation and suggest new approaches to explore .. Moravia casts Cesira as a tragic character who puts herself in others’ sit