https://www.facebook.com/hanching.chung/videos/241665611466004
2019.1.25
190 簡介 D.H. Lawrence的繪畫和藝術
**** D. H. Lawrenc 夫婦晚年住所j Villa Mirenda (鄰近 Scandicci in Tuscany). D. H. Lawrence、Florence , Lady Chatterley's Lover
Leaving postwar England at the earliest opportunity, they traveled widely, eventually settling at the Kiowa Ranch near Taos, New Mexico, and in Lawrence's last years at the Villa Mirenda, near Scandicci in Tuscany. After her husband's death in Vence, France, in 1930, she returned to Taos to live with her third husband, Angelo Ravagli.[7] The ranch is now owned by the University of New Mexico at Albuquerque.[8]
| スカンディッチ Scandicci | |
|---|---|
 図書館（旧市庁舎） | |
| 行政 | |
| 国 |  イタリア |
| 州 |  トスカーナ |
| 県／大都市 | フィレンツェ |
| CAP（郵便番号） | 50018 |
| 市外局番 | 055 |
| ISTATコード | 048041 |
| 識別コード | B962 |
| 分離集落 | #分離集落参照 |
| 隣接コムーネ | #隣接コムーネ参照 |
| 公式サイト | リンク |
| 人口 | |
| 人口 | 50,515 [1] 人 (2017-01-01) |
| 人口密度 | 847.7 人/km2 |
| 文化 | |
| 住民の呼称 | scandiccesi |
| 守護聖人 | san Zanobi |
| 祝祭日 | 5月10日 |
| 地理 | |
| 座標 | 北緯43度45分29秒 東経11度10分49秒座標: 北緯43度45分29秒 東経11度10分49秒 |
| 標高 | 47 (32 - 380) [2] m |
| 面積 | 59.59 [3] km2 |
LADY CHATTERLEY'S LOVER WAS BORN IN FLORENCE
D. H. Lawrence and Florence It has long been a fact that Lady Chatterley's Lover is one of the most famous and most engaging novels of the twentieth century. What is less known (if not to scholars or to Lawrencians tout court), is the involvement of Florence in the creation and publication of a work that was then judged, by important English and American publishers, to be too transgressive and immoral to be given to prints.
Lawrence arrived in Florence in the spring of 1926 with his wife Frieda von Richthofen and stayed at the Pensione Lucchesi on the Lungarno della Zecca. The project is not to stop for long; but an invitation to lunch by an English painter, Arthur Wilkinson, who lives in a villa above Scandicci, introduces him to a hilly area of extreme beauty which immediately revives in him the desire to find a space in which to reside and from which to move easily south towards the archaeological remains of the Etruscan cities and necropolises to capture, of that vital and enigmatic people erased by the Romans many centuries earlier, the mighty physicality and the profound sense of the sacred.
The agreement stipulated with the owner of an ancient residence located in San Polo in Mosciano leads Lawrence and Frieda to leave the small pension on the Lungarno and take possession of some rooms on the first floor of the villa and, from 13 May 1926 to 7 June of 1928, the numerous letters sent to friends, acquaintances, publishers and literary agents will carry in the header the precise reference to the Tuscan place of choice: Villa Mirenda, Scandicci, Florence. Here, in an almost idyllic rural atmosphere and often leaning against his favorite pine or olive tree, Lawrence will begin to create the daring and winning tale of the 'phallic' love between an aristocrat, married to an invalid baronet, and the gamekeeper of his estate. , writing it straight away and reworking it more than once until the final draft in 1928.
The awareness of having written something innovative but too provocative, deeply moral, but excessively 'immoral' for the public of the 'puritan gray' and fearful right-thinking people, is strengthened more and more in the writer when, at the end of March, the publisher Martin Secker informs him that it is not even conceivable that such a novel could be presented in England, even if 'purified' of the most daring erotic scenes.
Resolute and firm in the idea of publishing the original, complete version of his novel that offers a vision of the body and desire never outlined before with such intensity and sensuality, he accepts the advice of his friend Pino Orioli, owner of a small antiquarian bookshop on Lungarno Corsini, to print it privately. Thus, towards the end of that June 1928, at the Tipografia Giuntina, one of the most extraordinary novels of the twentieth century can finally see the light - in a thousand signed and numbered copies - printed in ivory-colored paper and bound in a sober hard cover with deep red imprinted with the image of a phoenix that soars from a nest full of flames, drawn by the writer himself.
In the meantime, Lawrence left with Frieda Villa Mirenda to spend the summer in Switzerland, since the hot-humid climate of Tuscany does not suit the lung disease that is afflicting and weakening him more and more and he will never return to Florence (if not for a short stay in 1929). He will receive a copy of the novel on June 28, sent to him by the diligent Pino Orioli who will ensure that hundreds of copies reach England and America from Florence, evading strict customs controls.
The story of the novel's reception and the consequent editorial piracy is well known: almost immediately intercepted by the American customs officers, only a few copies manage to filter on the market, while more than six hundred are distributed on English soil. As the writer himself recalls in an afterword to the 1929 Parisian edition of Lady Chatterley's Lover, just over a month after the Florentine publication, facsimiles of the original made with the photographic system are already circulating in New York, which are promptly also reproduced in England and France by fraudulent booksellers. And if illicit, unauthorized editions flourish numerous, the criticisms and accusations of pornography in newspapers contribute to fuel the sales market and stimulate the prudery of the public who rush to grab copies of the novel, unaware of the false editorial and unaware of the message. deeply ethical by Lawrence: “This is the true meaning of my book. I want men and women to be able to 'think' about sex in a full, complete, honest, clean way ".
From this perspective, it is not surprising then that in the allusive plot of the restless Lady Chatterley and the guard
The story of the novel's reception and the consequent editorial piracy is well known: almost immediately intercepted by the American customs officers, only a few copies manage to filter on the market, while more than six hundred are distributed on English soil. As the writer himself recalls in an afterword to the 1929 Parisian edition of Lady Chatterley's Lover, just over a month after the Florentine publication, facsimiles of the original made with the photographic system are already circulating in New York, which are promptly also reproduced in England and France by fraudulent booksellers. And if illicit, unauthorized editions flourish numerous, the criticisms and accusations of pornography in newspapers contribute to fuel the sales market and stimulate the prudery of the public who rush to grab copies of the novel, unaware of the false editorial and unaware of the message. deeply ethical by Lawrence: “This is the true meaning of my book. I want men and women to be able to 'think' about sex in a full, complete, honest, clean way ".
From this point of view, it is not surprising that in the allusive plot of the restless Lady Chatterley and the gamekeeper Mellors the whole ideological and political vein of Lawrencian poetics is condensed and then vibrantly exploded, which, utopistically, inscribes in the exaltation of the body, of desire. and of the phallic experience the intensely moral redemption for a mortified human race trapped in the suffocating and crystallized meshes of conventions and civilization.
Serena Cenni (University of Trento, scientific director of the project)
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