AAIS
ASSOCIAZIONE AMERICANA PER STUDI ITALIANI
AMERICAN ASSOCIATION OF ITALIAN STUDIES
ANNUAL CONFERENCE
RADISSON HOTEL, CHICAGO
April 2-5, 1998
La poesia dialettale
L'Union Ladina del Cador de Mèdo
è lieta di annunciare cheun poeta della nostra terra,
Adeodato Piazza Nicolai,
presenterà le proprie poesie ladine al prossimo convegno dell'AAIS.
Annuncio
Calendario delle sessioni sulla poesia dialettale
Dati biografici dei poeti italiani
Call for papers
La missione dell'AAIS
Conference guidelines
AnnuncioWe are pleased to announce that special guests of the AAIS will be AntonioTabucchi, Dacia Maraini, and Remo Ceserani, Professor of ComparativeLiterature at the Universita' di Bologna.Also present at the Conference wil be the poet Luciano Erba, invited by theItalian Poetry Society of America.In 1998 the AAIS will recognize Professor Gian Paolo Biasin of the Universityof California Berkeley or his outstanding scholarship and his contributionsto Italian Studies in the United States.
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Calendario delle sessioni sulla poesia dialettale
Friday - 11:30 - 12:4546. New Directions in Dialect PoetryOrganizer and Chair: Luigi Bonaffini, CUNY/Brooklyn CollegeAchille Serrao, "Orientamenti della poesia dialettale contemporanea. Dall'‘esperimento' lirico al racconto in versi: Luigi Bressan, Fabio Franzin,Giose Rimanelli e Nelvia Di Monte"Justin Vitiello, Temple University - "New Poetries for Europe"Dante Maffia, Università di Roma "La Sapienza" - "Sopravvivenza della‘nostalgia' nella poesia dialettale contemporanea.Francesca Cadel - "Poesia in friulano della destra del Tagliamento: daPasolini a Federico Tavan"Friday - 5:00-6:1568. Dialect Poets Read their Own PoetryOrganizer: Luigi Bonaffini, CUNY/Brooklyn CollegeChair: Justin Vitiello, Temple UniversityOttavio Balena (Napoletano), Adeodato Piazza Nicolai (Ladino), GioseRimanelli (Molisano), Peter Carravetta (Calabrese), Achille Serrao(Campano), Dante Maffia (Calabrese), Joseph Tusiani (Pugliese), MarcelloMarciani (Abruzzese)Sunday 10:00 - 11:15108. Dialect Poetry in Southern Italy: una nuova antologiaOrganizer: Maria Ponce de Leòn, Temple University RomeChair: Luigi Bonaffini, Brooklyn CollegeGaetano Cipolla, St. John's University - "The Emergence of Dialect Poetryin the South"Giose Rimanelli, SUNY/Albany - "‘Rurale' e "cittadino' sia al nord sia al sudnella poesia dialettale: Giancarlo Consonni lombardo e Giuseppe Jovinemolisano"Luigi Reina, L'Università di Salerno - "La poesia dialettale meridionaleitaliana: un capitolo della letteratura europea del novecento"
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Dati biografici dei poeti italiani
ADEODATO PIAZZA NICOLAI
ADEODATO PIAZZA NICOLAI--nato a Vigo di Cadore, provincia di Belluno, nel 1944 ed emigrato negli Stati Uniti vicino a Chicago nel 1959, è poeta, interprete e traduttore di poeti nordamericani, italiani e sudamericani. Laureato in Lettere dal Wabash College nel 1969, ha studiato per il Master of Arts all’ Università di Chicago; recentemente pensionato, dopo 30 anni presso la ditta siderurgica Inland Steel Company.
Ha pubblicato poesie, traduzioni e saggi in riviste sia italiane che in America (Poesia, Silarus, Italian-Americana, L’anello che non tiene, Forum Italicum, VIA, Bridge Apulia-USA, Gradiva). Autore di tre libri di poesia: La visita di Rebecca (1979), I due volti di Janus (poesie e traduzioni, 1980), e La doppia finzione (Insula editore, 1988), il Professor Glauco Cambon ha introdotto una selezione di poesie del Piazza Nicolai, scritte in dialetto Ladino del Cadore, sulla rivista culturale Forum italicum, apparsa nell’Autunno del 1987.
Nell’ arte stampa (anno XI, N. 4, 1990) il poeta-scrittore Enrico Bonino così presentò il Piazza Nicolai al lettore italiano: "Il lirismo, a tratti di ispirazione ermetica (Montale è forse il suo poeta preferito), altrove di intonazione ed effetto simbolista, danno l’inequivocabile segno di una maturità di espressione e di una franca, sincera simbiosi che, può dirsi, affratelli l’idioma nativo con la civiltà linguistica e la formazione culturale del suo Paese di adozione."
Recenti sue poesie angloamericane sono apparse nell’antologia From the Margins: Writings in Italian Americana (Tamburri, Giordano e Gardaphè editori, Purdue University, West Lafayette, Indiana, 1991) come pure in VIA--Voices in Italian Americana (Vol. 3, N.1, 1992). Il Professor John P. Welle, docente di lingua e letteratura italiana all’ Università di Notre Dame (U. S. A.), nella rivista L’anello che non tiene: Journal of Modern Italian Literature (Vol 2, N. 2, 1990) ha presentato un saggio critico sulle poesie del volume La doppia finzione.
Altro saggio critico del Professor Peter Carravetta è apparso in VIA (Vol. 1, No. 1, 1990). Nel giugno del 1997, Nicolai partecipò alla celebrazione per l’ottantesimo compleanno della poetessa afroamericana Gwendolyn Brooks, Poet Laureate per lo stato dell’Illinois, con una lettura della poesia "Shema: Hear and Remember". Professor Luigi Bonaffini presenterà la poesia dialettale del Piazza-Nicolai in una antologia che uscirà nel 1998.
ADEODATO PIAZZA NICOLAI -- born in Vigo di Cadore, Province of Belluno, Italy, in 1944; emigrated to the USA, near Chicago, in 1959. A poet and translator of Italian, Latin-American and US authors, he obtained a Bachelor of Arts degree from Wabash College in 1969 and has studied at the University of Chicago in pursuit of a Master’s Degree.
Recently pensioned from Inland Steel Company where he held various positions in the production, human resources and purchasing areas, Nicolai has published poems, translations and essays in Italian and Italo-American reviews such as Poesia, Silarus, Italian-Americana, L’anello che non tiene, Forum Italicum, Voices in Italian Americana, Punto di vista, Bridge Apulia - USA and Gradiva.
He has authored three collections of poetry: La visita di Rebecca (1979), I due volti di Janus (poems and translations, 1980), and La doppia finzione ( introduced by Prof. Rebecca West), 1988. Dr. John Welle, Professor of Romance Languages and Literatures at the University of Notre Dame, wrote an illuminating review of La doppia finzione (see L’anello che non tiene: Journal of Modern Italian Literature, Vol. 2, N. 2, 1990). An equally probing review was authored by Prof. Peter Carravetta, in the Volume 1, Number 1 issue of VIA (Voices in Italian Americana, 1990).
Nicolai’s Angloamerican writings have appeared in the anthology From the Margins: Writings in Italian Americana, edited by Anthony Tamburri, Paolo Giordano and Fred Gardaphè (Purdue University, West Lafayette, Indiana 1991), as well as in the Volume. 3, Number 1, 1992 issue of VIA. Nicolai is now completing a selection of translations from American into Italian of the poetry of Gwendolyn Brooks, June Jordan, Rita Dove, Nikki Giovanni, Maya Angelou, Alice Walker and Elizabeth Alexander for future publication by Librária Padovana.
From Italian into English, he is translating the selected poetry of the contemporary Roman poet Patrizia Cavalli. A selection of his dialect poetry will appear in a forthcoming anthology edited by Prof. Luigi Bonaffini of Brooklyn College.
GIOSE RIMANELLI
GIOSE RIMANELLI è Professore Emerito di Italiano e di Letteratura Comparata all 'Università di S.U.N.Y a Albany. Nato il 28 novembre 1926 a Casacalenda (Molise). Raggiunse fama internazionale con alcuni suoi romanzi degli Anni Cinquanta, fra i quali Tiro al piccione (1953) (ristampato da Einaudi, 1991), Peccato originale (1954), Biglietto di terza (1958), Una posizione sociale (1959). Vanno anche segnalati Graffiti (1977) e Molise Molise (1979). Recentemente ha ricevuto l'American Book Award per il suo romanzo Benedetta in Guysterland (1993).
All'attività narrativa ha unito quella della poesia, giornalismo, teatro e critica letteraria. Di particolare interesse sono Il mestiere del furbo (1959), The in Casa Picasso (1961), Lares (1962), Il corno francese (1962), Modern Canadian Stories (1966), Tragica America (1968), Italian Literature: Roots & Branches (1976).
I suoi libri di poesia includono Carmina blabla (1967), Monaci d'amore medievali (1967), Poems Make Pictures Pictures Make Poems (1971), Arcano (1990), Moliseide (1992). Musicologo e pittore.
GIOSE RIMANELLI is Professor Emeritus of Italian and Comparative Literature at S.U.N.Y. He was born November 28, 1926, in Casacalenda (Molise), Italy. He achieved international fame with some of his novels in the fifties, among which Tiro al piccione (1953) (reprinted by Einaudi, 1991), Peccato originale (1954), Biglietto di terza (1958), Una posizione sociale (1959). Also to be noted are Graffiti (1977) and Molise Molise (1979). He recently received the American Book Award for his novel Benedetta in Guysterland (1993).
To narrative he has added poetry, journalism, theater and literary criticism. Of particular interest are Il mestiere del furbo (1959), The in Casa Picasso (1961), Lares (1962), Il corno francese (1962), Modern Canadian Stories (1966), Tragica America 1968), Italian Literature, Roots & Branches (1976).
His books of poetry include Carmina Blabla (1967), Monaci d'amore medievali (1967), Poems Make Pictures Pictures Make Poems (1971), Arcano (1990), Moliseide (1992). He is a musicologist and painter.
ACHILLE SERRAO
Born in Rome in 1936. Poetry in Italian: Coordinata polare, Rome: Ed. Crisi e Letteratura, 1968 (preface by Angelo Ricciardi); Honeste vivere, Biella: S.M.Rosso, 1970 (awarded the prize "La gerla d'oro," 1970); Destinato alla giostra, Rome: Il Libro, 1974; Lista d'attesa, Siena: Messapo, 1979 (preface by Silvio Ramat ); L'altrove il senso, Rome: Rossi & Spera, 1987 (awarded the prize "Alfonso Gatto" 1988); narrative: Scene dei guasti, Rome: Della Muda, 1978 (preface by Ruggero Jacobbi); Cammeo, Siena: Messapo, 1981 (preface by Luigi Baldacci) Cammeo was translated into English and published in bilingual edition by Gradiva Publications of the State University of New York in 1985 with an introduction by Mario Luzi; criticism: Contributi per una bibliografia luziana, Edizione del Comune di Campi di Bisenzio (Fi), 1984; L' ánoma - Appunti per una lettura della poesia di Giorgio Caproni, Spinéa (Ve): Fonéma, 1989; Ponte rotto, Forlì: Forum/Quinta Generazione, 1992; the entry Elio Filippo Accrocca, for the Dictionary of Literary Biography, Columbia: Bruccoli Clark Layman, 1993; poetry in the dialect of Campania (Caserta area): Mal'aria, Treviso: All'Antico Mercato Saraceno, 1990, with a preface by Franco Loi; O ssupierchio, preface by Franco Brevini, Monterotondo (Rome): Grafica Campioli, 1993; A canniatura , preface by Giacinto Spagnoletti, Roma: Editori & Associati, 1993 (Lanciano Prize 1994); Cecatélla, preface di Giovanni Tesio, Mondovì: Boetti & C. editori, 1995; Semménta vérde, preface by Franco Brevini, Rome: Edizioni dell'Oleandro, 1996.
The texts presented here are taken from A canniatura, cit.
JOSEPH TUSIANI
Joseph Tusiani (San Marco in Lamis, Foggia, 1924) was for many years professor of Italian Literature in several American universities. A multilingual and prolific writer of verse as well as prose, he has published in English Rind and All: New York, Monastine, 1962; The Fifth Season, New York: Obolensky, 1964; Gente mia and Other Poems, Stone Park IL: Italian Cultural center, 1978; in Latin Carmina latina, edited by E. Bandiera, Fasano: Schena, 1994; in Italian the three volume autobiography La parola difficile, 1988; La parola nuova, 1991; La parola antica, 1991, Fasano: Schena; and the volume of Italian poetry Maglio e gheriglio e la quinta stagione, Rome: Bulzoni, 1987. Very vast is his work as a translator of international repute: The complete Poems of Michelangelo; Tasso's Jerusalem Delivered and Creation of the World; Bocaccio's Nymphs of Fiesole; The Age of Dante; Italian Poets of the Renaissance; From Marino to Marinetti; Leopardi's Canti; Dante's Lyric Poems, and Pulci's Morgante Maggiore.
Tusiani's dialect work consists of four volumes: L…creme e sciure [Tears and Flowers], prefaced by T. Nardella: Foggia, Cappetta, 1955; Tóreca t…reca, edited by A. Motta, T. Nardella and C. Siani: San Marco in Lamis, Quaderni del Sud, 1978; Bronx, America: Manduria, Lacaita, 1991; Annemale parlante [Talking Animals]: San Marco in Lamis, Quaderni del Sud, 1994.
On works in dialect see: T. Nardella, preface to L…creme e sciure; S. D'Amaro, in La parola del popolo, Chicago, July 1978; L. Bonaffini, "La poesia dialettale di Joseph Tusiani", in Joseph Tusiani: Poet Translator Humanist / An International Homage; C. Siani, Microletteratura: San Marco in Lamis, QS ed., 1994. Tusiani is also included in the anthology by P. Sorrenti, La Puglia e i suoi poeti dialettali: Bari: De Tullio, 1962 (anastatic reprint by Forni, Sala Bolognese, 1992).
The plurilinguistic character of Joseph Tusiani's literary activity, far from erasing or diminishing the use of dialect, seems instead to exalt the role it plays in the writer's complex world. Formulating for Tusiani the binary function of four languages dialect and Latin being committed to the expression of archetypal worlds, while Italian and English to the expression of composed and rationalized experiences , it is possible to assign to the dialectal medium (specifically the dialect of the Gargano town of San Marco in Lamis) a marked connotation of appeal to memory and retroactive compensation for the loss of the original culture, religiously and humanistically elevated, however, to a "lament" for lost worlds. Moreover, in the general framework of the author's poetics and thematics, it is possible to establish an internal link between the defensive function of the culture of the small homeland and exaltation of the "ethnic" values contained in the most significant collection of English poems, Gente mia and other poems (1978).
From this, it can be inferred that for Tusiani saving a language means saving the memory of a community, in addition to his own psychological and artistic integrity, as a man who does not reject any of his previous acquisitions, even if apparently antithetical to a more prestigious linguistic and expressive standard. The image that emerges is that of a "neodialect" Tusiani, namely a writer who uses dialect both as an alternative keyboard for concurrent and stratified experiences, and as witness to an existential estrangement redressed by now only by the myth of a vanished age: the town, the mountain, the convent, the roads, the ancient crafts, the minor and minimal figures of the ancestral "village" are the maternal counterpart of a life which decided to accept the challenge of a world radically different, the exact future of that past.
Criticism: there is a large bibliography on his multiform production. Besides L. Petracco Sovran's monograph, Joseph Tusiani poeta e traduttore [Joseph Tusiani Poet and Translator], Perugia: Sigla Tre, 1984, two miscellaneous studies should be pointed out: Omaggio a Joseph Tusiani, edited by G. Cipolla, in La parola del popolo, Chicago 1979, and Joseph Tusiani: Poet Translator Humanist / An International Homage, edited by Paolo Giordano, West Lafayette IN: Bordighera Inc., 1994. Essays and articles on Tusiani can be also found in the following anthologies: Italian Ethnics: Their Languages, Literature and Lives, New York: AIHA, 1990; From the Margin: Writings in Italian Americana, edited by A. J. Tamburri, P. A. Giordano and F. L. Gardaph‚, West lafayette IN: Purdue UN, 1991; and La letteratura dell'emigrazione, edited by J.J. Marchand, Turin: Ed. Fondazione Agnelli, 1991.
DANTE MAFFIA
Dante Maffia was born in Roseto Capo Spulico (Cosenza) in 1946. He teaches in a school in Rome, where he has been living for many years. Editor of Il Policordo and Poetica, he conducts an intense activity as a militant critic. Having switched to dialect after a rich and significant output in Italian, he has also authored short stories and novels.
His wager on dialect seems due to the conviction that words are only the obligatory instrument the poet is forced to use to symbolize in discourse a way of existing among other people and objects; a series of craftsman's "tools." Therefore Maffia refuses the paradigmatic equivalence theorized by the neo-avanguarde (poetry = language), and rejects the low mimicry of slang in order to aim almost at a reappropriation of the peculiar dignity of the medium in poetry. For this reason, he reaches the conviction that all languages have a potentially equal dignity. It is not so much for communicative reasons, in fact, that Maffia offers us the poems of A vite i tutte i jurne [Everyday Life] and U Ddíje poverille [The Poor God] in a double form. Independently from their order in the printed edition, they are not dialect texts with Italian translation (or viceversa), but rather two functional modes adopted to express the same poetic stimulus by someone who possesses two souls beating in unison, equally sensitive to poetry's reasons: an anthropological one grounded in dialect, which constitutes the basic identity of the subject, and a more restless one, having gone through an acculturation process for the necessary growth in a larger context.
In his itinerary, the poet had symbiotically sullied himself in the poor and wild nature of rural Roseto, had distilled the foam of the waves, had abandoned himself to memories experienced without elegy; he had also lost himself, had become resentful, beguiled by the ruins of the metropolis without being really able to belong, and had tried to answer the numerous questions crowding his mind by turning to his beloved literature. The poets, first of all: the cherished Baudelaire, Quasimodo, Cardarelli, Saba, but also Jimenez, Lorca, and then Borges and all the best tradition, not only Western, combined with the classical influences mythically stirring Maffia's imagination, always longing for new experiences because never satisfied with his achievements. Hence his search for the event, his apparent yielding to the flow of thought (contemplation, meditation, memory) that strives to become images, feelings, passions, colors, signs of civilization or existential symbols. And he tries to capture a meaning in every object through a repeated process of personal dematerialization and refiguration within the magic of words, capable of transfiguring into myth even the smallest event, the elementary acquisition, the surprise or the discovery, the sudden jolt. A continuous process of interiorization of the world with its objects, which take on an existential, humanizing significance only through their potential for becoming symbols. A journey of self-questioning that leads to a progressive reduction of the substance of what is outside the self, but sublimating it into subjective areas of lyricism which tend to dematerialize into sound, to become music and color, to transmute into vivid essences in the apparent immateriality of a sigh.
Essential Bibliography: Maffia's bibliography is very extensive. Cf., besides the collections in dialect (A vite i tutte i jurne: Rome, Edizioni Carte Segrete, 1987, prefaced by G. Spagnoletti, and U Ddíje poverille: Milan, All'insegna del Pesce d'Oro, 1990, with a preface of A. Stella); Il leone non mangia l'erba (1974), pref, by A. Palazzeschi; Le favole impudiche (1977), pref. by D. Valli; Passeggiate romane (1979), pref. E. Mandruzzato and afterword by D. Bellezza; L'eredità infranta (1983), pref. by Mario Luzi; Il ritorno di Omero (1984), pref. by G. Ferroni; L'educazione permanente (1992), pref. by G. Spagnoletti; La castità del male (1993), pref. by G. Pontiggia. His poetry has been translated into twelve languages. A literary critic and essayist, he has also published several short stories and two novels (Corradino, 1990; and, directly in Spanish, La danza del adiés, 1991). Very recent is a new book of dialect poems, I rruspe cannarute [The Gluttonous Toads], 1995.
Criticism: for a comprehensive study cf. L. Reina, "Itinerario poetico di Dante Maffia," in Percorsi di poesia, Naples 1993. Also cf. G. Mercogliano, L'odissea del mistero. Itinerario poetico di Dante Maffia, Acireale 1984; R. Salerno, Antico e nuovo nella poesia di Dante Maffia, Cavallino di Lecce 1988; V. Petrone, Il dialetto rosetano nella poesia di Dante Maffia, Rossano 1989; Spagnoletti and Vivaldi, op. cit..
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CALL FOR PAPERSColleagues interested in organizing a session or presenting a paper at theAnnual Conference of the AAIS should send their proposals toProf. Paolo GiordanoModern Languages & LiteraturesLoyola University6525 N. Sheridan Rd.Chicago, IL 60626or through e-mail : pgiorda&flash.netAll people attending the conference must be members of the Association byDecember 1, 1997.$15 -- Graduate Students, Independent scholars, and Professors Emeriti$20 -- Regular Members$35 -- CouplesTo become a member contact:Prof. Cinzia Donatelli NobleFrench & ItalianBrigham Young University4010 JKHBProvo, Utah 84602e-mail: Cinzia_Noble@byu.edu
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AAIS
The American Association of Italian Studies was created for the purpose of encouraging and supporting research activities in the field of Italian culture (including language, art, music, history, literature, folklore, and popular culture) and its influence on other cultures, and topromote an appreciation for Italy's cultural contribution to the world.
The Association also publishes a miscellany of Italian studies, and honors individuals who have distinguished themselves in the different areas of Italian studies.
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CONFERENCE GUIDELINES
PLEASE OBSERVE THE FOLLOWING GUIDELINES IN ORGANIZINGYOUR SESSION. IF YOU HAVE ANY QUESTIONS PLEASE CONTACT THE CONFERENCEORGANIZERS. PROPOSED SESSIONS WHICH DO NOT COMPLY WITH THESE NORMS WILL NOTBE PLACED IN THE CONFERENCE.NORMS FOR ORGANIZERS/CHAIRS1. You must be a member in good standing of the AAIS to propose a session.If you are not a member of the AAIS and you wish to propose a session, thefirst step is to join the Association and then forward your proposal,keeping in mind the February 15 deadline for membership.2. Please respond promptly to all inquiries from prospective speakers.3. All prospective speakers should submit to you a 300-word abstract oftheir paper.4. In accepting papers for your session, bear in mind the intended goals ofthe session as well as the scholarly interests of the speakers and audience.A successful session requires planning, communication among all speakers andchair, and common interests among speakers and audience.Organizers must also ensure:a. that accepted papers have only been submitted to one panelb. speakers are members in good standing of the AAISc. speakers have been informed of AAIS Conference guidelines for speakers.Organizers are welcome to check a list of those no-show speakers at previousconferences who did not notify their panel chair (contact either PaoloGiordano or Franco Ricci).5. Sessions should contain three or four papers. If you have five or moregood proposals, please submit two sessions. The organizers will make everyeffort to accommodate you. On the other hand, should you receive only oneor two proposals, please forward them to the conference organizers forpossible placement in other sessions.6. Submit your finalized session to Convention organizer no later than 28November 1997. IN ORDER TO ENSURE CELERITY PLEASE NOTE THAT SESSIONS MAY BESUBMITTED BY PHONE, FAX OR E-MAIL BEFORE THE DEADLINE. At that time, send acopy of your session to all the speakers informing them that:a the session has been accepted unless they hear otherwise from you and fromthe Convention organizers;b any changes in the session should be communicated to you and also directlyto the Convention organizers by 19 December 1997c no paper will be read in absentiad any decision not to attend the conference which is made after 1 January1997 cannot be taken into consideration in the preparation of the programand will in fact jeopardize the success of the session.Chairs should also keep in mind the resolution adopted at the 1993 GeneralMeeting, that is that the published order of speakers in a session shouldnot be altered.Norms for Speakers1. All participants in the Convention must be members in good standing ofthe AAIS.2. Submit the title of proposed paper to the organizer of the session assoon as possible, but not later than 28 November 1996, and only after youknow that you will be able to attend the conference. With the title send a300-word abstract. Include your complete address with office and hometelephone numbers. According to AAIS norms, every participant may presentone paper and also conduct another official function, such as chairing asession. Organizing a session is not considered an official function.Organizers of sessions will be recognized as such in the Convention program.3. Every session will last 90 minutes. The organizer/chair of the sessionshould reserve 15 minutes, either between or after the papers, for a generaldiscussion period. If the organizer accepts four papers, your reading timeis 15 minutes (= 7 pages, with no more than 250 words per page). If theorganizer accepts three papers, your reading time is 20 minutes (= 9 pageswith no more than 250 words per page). In both cases, the audience willhave about 15 minutes to discuss with the panel the papers presented.Please bear in mind that a primary function of presenting a paper is to beable to discuss your scholarly interests with colleagues. By limiting timefor discussion, you relinquish an important function of the convention.4. The session organizer will submit the finalized session to theConvention organizers no later than 19 December 1997. Any changes in yourpresentation after that date must be communicated directly to the Conventionorganizers and to the organizer of the session before January 1, 1998.5. No papers may be read in absentia. By deciding not to attend theconference after January 12, you jeopardize the success of your session andmay deprive a colleague of the opportunity to deliver a paper.NB: According to AAIS Guidelines, a member may read no more than one paperand chair a session and participate in one round tableNB: The final program will be mailed to all AAIS members in mid-January.----------------------------------------------------------If you are interested in reading a paper on Antonio Tabucchi's works at thenext AAIS, in Chicago, 2-5 April 1998, please contact me at:fbrizio@utk.eduI am organizing two sessions.Flavia Brizio-Skov----------------------------------------------------------Torna all'indice
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