Conrad in Italy provides international students and researchers with a
variety of critical approaches. Richard Ambrosini surveys Conrad's
reception within the Italian academy. Franco Marenco's essay on "Heart
of Darkness" outlines Conrad's centrality in English Modernism.
Alessandro Serpieri deals with Conrad's impressionistic treatment of
space in The Secret Agent and other texts. Giuseppe Sertoli focuses on
Conrad's debt to the Comtesse de Boigne's Mémoires and to James's
Portrait of a Lady in the writing of Suspense.Fausto Ciompi
investigates the isotopy of dream in Lord Jim and other early novels.
Elio Di Piazza reads the The Mirror of the Sea as an inquiry into
British and Russian empires. Maria Teresa Chialant's study of "Amy
Foster" and "Tomorrow" accounts for the interest of Italian critics in
Conrad's minor works.Francesco Marroni unfolds the moral structure of
"The Secret Sharer". Nicoletta Vallorani tackles the theme of the double
in "The Secret Sharer" from the perspective of the art of photography.
Luisa Villa illuminates the complex structure of Chance in the light
of Conrad's re-elaboration of the Victorian multi-plot novel. Mario
Domenichelli proposes a reading of Conrad's cooperation with Ford. The
Inheritors is the subject of Mario Curreli's essay on Conrad's debt to
H.G. Wells, Zangwill, and Drumont, while it places the issue of
fourth-dimension in the context of European colonialisms. Marialuisa
Bignami's survey of Conrad's influence on Primo Levi and Marilena
Saracino's intertextual analysis of "Heart of Darkness" and Luigi
Guarneri's Tenebre sul Congo are two exercises in dialogic reading
which confirm Conrad's well-established reception in Italian culture.
