Background
Santo Arico was born on July 15, 1938 in Brooklyn, New York, United States to Anthony and Francesca (Cicirello) Arico.
(Despite the range and high quality of their work, Italian...)
Despite the range and high quality of their work, Italian women writers have received scant attention from critics, in Italy or elsewhere. All too often, their contributions have gone unrecognized. This collection demonstrates the importance of these writers to the literary world and seeks to bring them the critical attention they deserve. Twelve scholars and literary critics examine some of the best prose produced in recent years by Italian women in a variety of genres, including fiction, journalism, and biography. Among the writers discussed are Anna Banti, Camilla Cederna, Fausta Cialente, Oriana Fallaci, Natalia Ginzburg, Armanda Guiducci, Gina Lagorio, Gianna Manzini, Dacia Maraini, Elsa Morante, Lalla Romano, and Francesca Sanvitale. The topics they address range from love, disillusionment, friendship, and family life to artistic vision and the journalistic novel, to political activism, the condition of women in Italy, and the impact of feminism on Italian culture. Although some of the writers discussed describe themselves as feminists, others do not. Similarly, the contributors to the volume represent a spectrum of critical and political perspectives. What emerges is a series of portraits that reflect the variety, dynamism, and creativity of women writers in modern-day Italy.
http://www.amazon.com/gp/product/0870237101/?tag=2022091-20
1990
(Rousseau's argumentative skills immediately emerge in the...)
Rousseau's argumentative skills immediately emerge in the opening pages of 'La Nouvelle Heloise' and remain the dominant artistic technique throughout his epistolary work of fiction. This book systematically delineates the features of Rousseau's persuasiveness and elaborates on the actual communicative devices to which so many critics have both alluded and remained indifferent. The critical approach consists of a comparative method based on textual analysis to prove the unmistakable presence of classical models-inventio (arguments), disposito (arrangement), and elocutio (style)-and to underscore how they form the spinal chord of the celebrated romance. Arico accentuates for the first time Rousseau's oratorical originality as an artist and the polemic outlook on life that influenced his formalistic approach-one aimed at persuading characters, as well as members of a reading public, to behave, live, and, in fact, think in a particular manner. Contents: Foreword; Acknowledgments; Introduction; PART ONE: INVENTION; Arguments; Morality; Emotions; PART TWO: STRUCTURAL PATTERNS; Exordium; Statement of Fact; Confirmation; Peroration; PART THREE: ELOQUENCE; Simple Eloquence; Sublime Eloquence; Middle Eloquence; Conclusion; Bibliography; Index.
http://www.amazon.com/gp/product/0819196185/?tag=2022091-20
1994
(Based on his own extensive personal interviews with the w...)
Based on his own extensive personal interviews with the writer, Santo L. Aricò provides the definitive biography of Oriana Fallaci, a popular and flamboyant Italian journalist, war correspondent, and novelist who, in the public imagination, approaches mythical proportions and who, with every work she produces, creates and re-creates that myth. Pushing the boundaries of biography, Aricò maps out Fallaci’s personal psychological journey through life, paying particular attention to her ongoing and painstaking attempts to establish her own mythical status. He first examines her formation as a literary journalist, emphasizing the high quality of her writing throughout her career. From there, he concentrates on the way in which Fallaci’s personal image began to emerge in her writings as well as the way in which, through her powerful narratives, she catapulted herself into the public eye as her own main character. Aricò shows how Fallaci is born and reborn in each work and how with each work she takes on a slightly different shape. She became the heroine of her first novel, and even in her reportage on NASA and her interviews with astronauts, she became the star. She kept the spotlight on herself as a war correspondent in Vietnam. In her articles on Mexico’s suppression of student protests during the 1968 Olympics in Mexico City, she starred as a champion of liberty and bitter foe of totalitarianism. Her greatest starring roles, however, came in interviews with such political mammoths as Gandhi, Walesa, and Kissinger. In telling the story of how Fallaci built her own myth, Aricò explains the theory of mythmaking in general, showing how it motivated her writing. He explains how her childhood in Florence laid the foundation for her entire career and how at the start of that career, she often blurred the distinction between journalism and fiction. Drawn to acting—especially in her Hollywood stories—she managed to become the leading lady in all she wrote. Aricò concludes that Fallaci’s literary, journalistic writings intimately fuse with her theatrics, forming a combination that relentlessly propelled her embellished, edited image before the public eye. Based on his own extensive personal interviews with the writer, Santo L. Aricò provides the definitive biography of Oriana Fallaci, a popular and flamboyant Italian journalist, war correspondent, and novelist who, in the public imagination, approaches mythical proportions and who, with every work she produces, creates and re-creates that myth. Pushing the boundaries of biography, Aricò maps out Fallaci’s personal psychological journey through life, paying particular attention to her ongoing and painstaking attempts to establish her own mythical status. He first examines her formation as a literary journalist, emphasizing the high quality of her writing throughout her career. From there, he concentrates on the way in which Fallaci’s personal image began to emerge in her writings as well as the way in which, through her powerful narratives, she catapulted herself into the public eye as her own main character. Aricò shows how Fallaci is born and reborn in each work and how with each work she takes on a slightly different shape. She became the heroine of her first novel, and even in her reportage on NASA and her interviews with astronauts, she became the star. She kept the spotlight on herself as a war correspondent in Vietnam. In her articles on Mexico’s suppression of student protests during the 1968 Olympics in Mexico City, she starred as a champion of liberty and bitter foe of totalitarianism. Her greatest starring roles, however, came in interviews with such political mammoths as Gandhi, Walesa, and Kissinger. In telling the story of how Fallaci built her own myth, Aricò explains the theory of mythmaking in general, showing how it motivated her writing. He explains how her childhood in Florence laid the foundation for her entire career and how at the start of that career, she often blurred the distinction between journalism and fiction. Drawn to acting—especially in her Hollywood stories—she managed to become the leading lady in all she wrote. Aricò concludes that Fallaci’s literary, journalistic writings intimately fuse with her theatrics, forming a combination that relentlessly propelled her embellished, edited image before the public eye. Based on his own extensive personal interviews with the writer, Santo L. Aricò provides the definitive biography of Oriana Fallaci, a popular and flamboyant Italian journalist, war correspondent, and novelist who, in the public imagination, approaches mythical proportions and who, with every work she produces, creates and re-creates that myth. Pushing the boundaries of biography, Aricò maps out Fallaci’s personal psychological journey through life, paying particular attention to her ongoing and painstaking attempts to establish her own mythical status. He first examines her formation as a literary journalist, emphasizing the high quality of her writing throughout her career. From there, he concentrates on the way in which Fallaci’s personal image began to emerge in her writings as well as the way in which, through her powerful narratives, she catapulted herself into the public eye as her own main character. Aricò shows how Fallaci is born and reborn in each work and how with each work she takes on a slightly different shape. She became the heroine of her first novel, and even in her reportage on NASA and her interviews with astronauts, she became the star. She kept the spotlight on herself as a war correspondent in Vietnam. In her articles on Mexico’s suppression of student protests during the 1968 Olympics in Mexico City, she starred as a champion of liberty and bitter foe of totalitarianism. Her greatest starring roles, however, came in interviews with such political mammoths as Gandhi, Walesa, and Kissinger. In telling the story of how Fallaci built her own myth, Aricò explains the theory of mythmaking in general, showing how it motivated her writing. He explains how her childhood in Florence laid the foundation for her entire career and how at the start of that career, she often blurred the distinction between journalism and fiction. Drawn to acting—especially in her Hollywood stories—she managed to become the leading lady in all she wrote. Aricò concludes that Fallaci’s literary, journalistic writings intimately fuse with her theatrics, forming a combination that relentlessly propelled her embellished, edited image before the public eye.
http://www.amazon.com/gp/product/080932153X/?tag=2022091-20
1998
(The Unmasking of Oriana Fallaci: Part II and Conclusion t...)
The Unmasking of Oriana Fallaci: Part II and Conclusion to Her Life Story brings to an end years of painstaking research. This biography highlights Fallaci's career as a journalist, interviewer, war reporter, essayist, and novelist. Its uniqueness consists less in a chronological listing of events but rather in emphasis on the core of Fallaci's psychological dynamism. This woman from Florence relentlessly placed her embellished persona in the public eye; she thirsted for stardom, allowing nothing to block her ascent to prominence; she essentially functioned as her own publicity agent. Aricò maintains that this same narcissism is present in all of her early Hollywood articles, celebrated interviews, book on NASA space travels, best-selling novels, and end-of-life trilogy against Islam. Indeed, Fallaci's posthumously published history of her ancestors not only takes on the structure of an epic saga but also of an in-depth autobiography. Her entire history of inserting herself onto center stage received reinforcement by the eye-catching portraits of her by world-famous photographers. Aricò bases The Unmasking on extensive investigation, meetings with people who knew her, and fourteen one-on-one recorded interviews at her homes in New York and Florence. His exposé stands as Fallaci's only definitive and authoritative biography in the English-speaking world.
http://www.amazon.com/gp/product/1480900052/?tag=2022091-20
2013
(The Unmasking of Oriana Fallaci: Part II and Conclusion t...)
The Unmasking of Oriana Fallaci: Part II and Conclusion to Her Life Story brings to an end years of painstaking research. This biography highlights Fallaci’s career as a journalist, interviewer, war reporter, essayist, and novelist. Its uniqueness consists less in a chronological listing of events but rather in emphasis on the core of Fallaci’s psychological dynamism. This woman from Florence relentlessly placed her embellished persona in the public eye; she thirsted for stardom, allowing nothing to block her ascent to prominence; she essentially functioned as her own publicity agent. Aricò maintains that this same narcissism is present in all of her early Hollywood articles, celebrated interviews, book on NASA space travels, best-selling novels, and end-of-life trilogy against Islam. Indeed, Fallaci’s posthumously published history of her ancestors not only takes on the structure of an epic saga but also of an in-depth autobiography. Her entire history of inserting herself onto center stage received reinforcement by the eye-catching portraits of her by world-famous photographers. Aricò bases The Unmasking on extensive investigation, meetings with people who knew her, and fourteen one-on-one recorded interviews at her homes in New York and Florence. His exposé stands as Fallaci’s only definitive and authoritative biography in the English-speaking world.
http://www.amazon.com/gp/product/B00CPCYJ2Q/?tag=2022091-20
Santo Arico was born on July 15, 1938 in Brooklyn, New York, United States to Anthony and Francesca (Cicirello) Arico.
Arico received Master of Arts degree in French from St. John’s University in 1967. At Fordham University he obtained Doctor of Philosophy degree in Romance languages in 1974.
During his career, Arico worked as a teacher at the elementary, high school, college and university levels since 1960. He held school principal and department chair positions.
After thirty-nine years of teaching, he dedicates all of his time to writing. He is the author of the biography Oriana Fallaci: The Woman and the Myth (Southern Illinois University Press, 1998), the monograph Rousseau’s Art of Persuasion in "La Nouvelle Héloise" (1994), and numerous articles on the French Eighteenth-Century.
He is also the editor of Contemporary Women Writers in Italy: A Modern Renaissance (1990).
Nowadays, he writes historical fiction and mysteries, as well as short stories about ethnic experiences.
(Rousseau's argumentative skills immediately emerge in the...)
1994(Despite the range and high quality of their work, Italian...)
1990(The Unmasking of Oriana Fallaci: Part II and Conclusion t...)
2013(The Unmasking of Oriana Fallaci: Part II and Conclusion t...)
(Based on his own extensive personal interviews with the w...)
1998
Quotations:
“My primary motivation for writing is self-fulfillment; to learn more about the world and myself. And also professional advancement."
“Ira Wade taught me to look for a generating idea and an appropriate structure. Every time I heed his advice I never go wrong. I have always desired to write. I have always envied the status of prestige enjoyed by writers. An iron will helps me to persevere."
“My writing process begins with an idea. Explore the idea (this involves mountains of work). Then write the book over and over and over until the idea takes on a dynamism of its own. And then do it all over again and, at least, one more time."
“Where I get the inspiration for the subjects I write about varies. I passionately love my subjects: Italian heritage!; my love for French literature; a bold (presumptuous and arrogant) desire to cross the street from literary, critical research to creative writing, whether it be fiction or nonfiction.”