Savvy Italians will tell you that Neapolitans are considered the cleverest, most imaginative, most romantic, and the most entertaining people in the country. The world's finest men's fashions are Neapolitan, Italy's most celebrated popular songs and a high proportion of popular and operatic singers are Neapolitan—starting with Enrico Caruso. Sophia Loren and Toto are famously Neapolitan. Divorce Italian Style and Marriage Italian Style were based on plays written by the great Neapolitan Eduardo de Filippo. If you check the Italian literary awards year after year, you will find an amazingly high proportion of Neapolitans walking off with the highest honors. Naples has been a great creative center for hundreds of years. Neapolitan creativity has survived centuries of foreign occupation, widespread misery, the end of its role as a great capital city, repeated natural catastrophes, and terrible epidemics. What accounts for the creativity of Naples? The sorcerer Virgil is said to have created a Golden Egg, inside a crystal sphere, to save Naples from natural catastrophe. The egg, locked in an iron cage, was buried beneath a castle—still known as the "Egg Castle"—to give it stability and to give eternal life to Naples. Michael Ledeen suggests some surprising answers in a highly original exploration of Neapolitan life and death that ranges from religion to organized crime, war and violence. His deep affection for this remarkable city and its people is evident on every page.

This book is the first dedicated volume of academic analysis on the monumental work of Elena Ferrante, Italy's most well-known contemporary writer. The Works of Elena Ferrante: Reconfiguring the Margins brings together the most exciting and innovative research on Ferrante's treatment of the intricacies of women's lives, relationships, struggles, and dilemmas to explore feminist theory in literature; questions of gender in twentieth-century Italy; and the psychological and material elements of marriage, motherhood, and divorce. Including an interview from Ann Goldstein, this volume goes beyond "Ferrante fever" to reveal the complexity and richness of a remarkable oeuvre.

Women of the Mafia dives into the Neapolitan criminal underworld of the Camorra as seen and lived by the women who inhabit it. It tells their life stories and unpacks the gender dynamics by examining their participation as active agents in the organization as leaders, managers, foot soldiers, and enablers. Felia Allum shows that these women are true partners in crime. The author offers an innovative interdisciplinary analysis that demystifies the notion that the Camorra is a sexist, male-centric organization. She links her analysis of Camorra culture within the wider Neapolitan context to show how mothers and women act and are treated in the private sphere of the household and how the family helps explain the power women have found in the Neapolitan Camorra. It is civil society and law enforcement agencies that continue to see the Camorra using traditional gender assumptions which render women irrelevant and lacking independent agency in the criminal underworld. In Women of the Mafia, Allum debunks these assumptions by revealing the power and influence of women in the Camorra.

In Dramaturgical Leaves: Essays about Musical Works for the Stage and Queries about the Stage, Its Composers and Performers, the third volume in Janita R. Hall-Swadley’s The Collected Writings of Franz Liszt, Liszt heralds his admiration for early nineteenth-century opera and musical stage works. He honors Gluck, the musical prophet, as the cultivator of dramatic truth in the Romantic opera Orpheus, expounds on Beethoven’s harmonic inventions and innovative treatment of form in Fidelio, and argues for the latter’s incidental music to Goethe’s Egmont as the epitome of music organicism, a complete unity of words and tone. He also comments on Weber’s Euryanthe as offering the most progressive musical characterizations and declamation—even more so than his popular work Der Freischütz—and on how both works prefigure Wagner’s music dramas; awards Mendelssohn, whose genius Liszt ranks only slightly less than Beethoven’s, top honors for creating in Midsummer’s Night Dream the highest standards of music poetry; suggests how Scribe and Meyerbeer’s Robert the Devil paints a mental image of art’s eternal flames, where poet and musician share equal space in the development of music tragedy; reveals how the poetic deficiencies in the libretto to Schubert’s Alfonso and Estrella are too easily overlooked because of the music’s melodic and lyrical supremacy; and offers in contrast Auber’s Mute from Portici, a remarkable text by many historically picturesque musical motives that are universal and nationalistic at the same time. Finally Liszt offers an early gender study in music in his essay about Bellini’s Montague and Capulet (as well as its impact on nineteenth-century audiences), a look at Boieldieu’s White Lady as a sublime depiction of literary music, and Donizetti’s Favorite as colored with a special type of imagery, a laterna magica, in Liszt’s hand. The beloved soprano Pauline Viardot-Garcia receives special attention in an essay devoted entirely to her, and Liszt proffers a critique of entr’acte music as a pointless tradition that dethrones music and insults the artist and composer by making music a “palate cleanser.” This volume includes a detailed discussion about what it meant to be patronized by Liszt and how his support—financial, literary, and musical—helped shape many a music career. It also offers commentary on how gender in opera was sometimes obscured not only for dramatic interest but also as part of the process of outlining a nation’s identity,as well as a thorough study of Liszt’s concepts of Gestalt theory, the Archetype, and his musical Weltanschauung (his musical "world view"), all revealing his contribution to 19th-century music philosophy as it relates to opera. Finally, a historical review of entr’acte music is presented—how it began and how it developed—to clarify Liszt’s stance against it, making this volume a necessary read for music historians, serious musicians, and music connoisseurs alike.

From Accomplice to Evil: "The world is simmering in the familiar rhetoric and actions of movements and regimes—from Hezbollah and al Qaeda to the Iranian Khomeinists and the Saudi Wahhabis—who swear to destroy us and others like us, and we are repeating the errors of the recent past. Like their 20th-century predecessors, they openly proclaim their intentions, and carry them out whenever and wherever they can. Like our 20th-century predecessors, we rarely take them seriously or act accordingly." Acknowledging the existence and actions of evil enemies means accepting that we are at war, and then designing and con duct - ing a strategy to win. Accomplice to Evil takes a com pre hensive look at the errors we have made in the past when dealing with a mounting enemy force, why we've refused to acknowledge the implications of a rising evil, and how we can defeat the forces that threaten us today.

Neapolitan Legends