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Essay / Research Paper Abstract
A 9 page paper that is composed of 3 entirely separate shorter paper on specific Italian-American authors. These papers are 3 pages in length and have at least 2 sources in their bibliographies. The authors and works are: Giose Rimanelli's Benedetta in Guysterland; Richard Vetere's Gangster Apparel; and Anthony Valerio's Lefty and the Button Men (originally published as Conversation with Johnny). In all, the bibliographies list 7 sources.
Page Count:
9 pages (~225 words per page)
File: D0_kh3itam.rtf
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Unformatted sample text from the term paper:
fully-developed female character, Benedetta is unabashedly a creation of male fantasy. The reader never loses sight of the authors hand, and, furthermore, is encouraged by the construction of the novel
to bring personal sensibilities, biases and perspectives into play in interpreting Benedetta and her story. This is, on the other hand, not out of line with the authors intentions, considering
the novels unusual structure. Rimanelli is clear that his intentions in creating this text is to offer a medium in which boundaries are unclear, "liquid." As reviewer Anthony Tamburri,
professor of literature at Purdue University points out, Rimanellis intention is "to render his reader complicit in an emotional and/or sensorial state as expressed though his prose," that is,
to make the reader a "co-participant" in Rimanellis production (Tamburri 478). Hence, Rimanellis "liquid" novel acquires its shape, so to speak, in the hands of the reader, just as
any liquid take its shape from a container (Tamburri 478). There are three central sections to the novel that are exclusively authored by Rimanelli; the "For-a-word," the central
story "Benedetta in Guysterland" and a concluding "Post-word." The narrating voices in each of these section is different. The narrator of the "For-a-word" is the author as himself. In this
section, the reader comes to know Rimanelli as "a lover of words" (Tamburri 473) and also as a "free collector of paper joy and paper anguish" (Rimanelli 28). In this
section, the reader is forewarned that Rimanelli will be playing with the language, as the authors intent is to write a novel "free of tradition, without a narrative (and) lacking
any sense of logical plot or story line" (Tamburri 474). In the middle section, the novel proper, the reader meets Benedetta, who receives her name from a misunderstanding
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