Gianni Cicali cv 3 8. Articles in collections 1. Un caso esemplare.
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A cura di Bartolo Anglani. Roma: Aracne editrice, In Italian Culture submitted, accepted, forthcoming. Pulci, Antonia. Elissa B. James Wyatt Cook. Toronto: Iter Inc. Three Florentine Sacre Rappresentazioni. In Renaissance Quarterly : Weaver, Elissa B. Scenes from Italian Convent Life.
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Toronto: University of Toronto Press, Plaisance, Michel. Florence in the Time of the Medici. Toronto: Centre for Reformation and Renaissance Studies, Civic Christianity in Renaissance Italy. The Hospital of Treviso, — In Confraternitas Sebregondi, Ludovica. Firenze: Edifir, In Confraternitas : Ciatti, Marco ed. Ricerche e conservazione. Firenze: Edizioni Edifir, Vigilante, Magda ed. Giorgio Vigolo. Scritti poetici giovanili Roma: Edizioni della Cometa, Gianni Cicali cv 5 Il Santo Anello. Leggenda, storia, arte, devozione.
Perugia: Comune di Perugia, Goldoni, Carlo. La cameriera brillante, a cura di Roberto Cuppone, introd. Paolo Puppa. Venice: Marsilio, In Drammaturgia 10 : Il Cavaliere e la dama, a cura di Franco Arato. Venezia: Marsilio, Carlo Goldoni. Le Borru bienfaisant; Il burbero di buon cuore, a cura di Paola Luciani. La cameriera brillante, a cura di Roberto Cuppone.
Introduzione di Paolo Puppa. Zanlonghi, Giovanna.
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April , March 27—29 November October 4 - 6 March York University, Toronto, Canada. February18, November 4, Gianni Cicali cv 8 February , December , February March 1, Gianni Cicali cv 9 June July 3, October Secular and Religious Institutions Teaching the World. November , Toronto, Toronto, ON, Canada. October 1 From the net of actors to the Internet. He wears a plumed hat and a long sword. She is often coupled with Harlequin. Shrewd, sly and gossipy, engaging for her typically feminine wiles, she is also known as Harlequina, Corallina, Ricciolina, Camilla e Lisetta.
She wears a white cap and apron. An old merchant, he often competes with younger men in the conquest of some young woman. For this reason he is often caught up in complicated affairs from which he extricates himself with difficulty. The costume is a woollen beret, a red jacket, pantaloons with a belt from which hangs either a sword, handkerchief or bag. He has a black cloak lined with red draped over his shoulders and wears black pointed Turkish slippers.
His mask is characterised by a turned-up nose, accentuated eyebrows and a strange pointed goatee beard. Pantalone represents the commercial spirit and talent for business which was gaining ground in the Venetian middle classes. He is often the melancholic servant, and combines the characteristics of foolishness with a large pinch of intuitive sense.
He uses lively gestures, typical of the Neapolitans: Tiepolo immortalised him in more than one of his paintings. His costume is a white shirt, tied with a belt. He wears an elongated hat and a black mask with beaky nose and wrinkles. Thin, gaunt and frail, he appears to have grown up in poverty; he is small in stature, of a yellowish complexion, with a broad forehead and arched eyebrows. Big-nosed, garrulous, easily frightened, impulsive but also wise, ingenious and ready to take the side of the little man, even if his timorousness often puts a spoke in the wheel: his comic effect lies in this conflict.
This figure is halfway between a caricature of the traditional servant and the charming gentleman which avoids being grotesque.