Word: emilia
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When a man who is desperately in love with his wife discovers that she despises him, he naturally tries to do something about it. Riccardo did something about it: he talked and talked. Why, he asked Emilia, do you despise me? What have I done? Can't we talk it over? Riccardo also thought and thought. Is it my character She hates? Does she think I'm using her to get on in my work? Have I fallen from grace because I go on being a scriptwriter when I really want to be a playwright? Shall I give...
...success, Producer Battista has given him a new and more important one to do, and the drab days in a furnished room in Rome seem well behind. It is typical of Author Moravia that conjugal hell lies just a step away from marital contentment. For at about this point Emilia takes to sleeping alone, begins to be less indifferent to the vulgar producer, and makes it plain that Riccardo bores her. The rest of A Ghost is a battle between the sexes fought out on the battlegrounds of character and personality, areas in which Moravia is one of the world...
When the Friars challenged Tondi to debate them at a counter-rally, also in a Communist stronghold, Communist Tondi failed to show up. He canceled his next speech, excused himself to Emilia's Communist bosses and left without saying anything more in publi.c...
...partisans.) This is essential for their jobs, since attacking Marxism before Emilia's crowds of tough peasants and laborers, traditionally unfriendly to priests, does not make a clergyman a good insurance risk...
...Take-Off. The Friars' greatest success was in routing the ex-Jesuit, Alighiero Tondi, who had been booked for a series of speeches in Emilia following his spectacular conversion to Communism (TIME, May 5, 1952). At Tondi's first lecture, before a packed Communist audience at the University of Bologna, Toschi and nine of the Flying Friars were there to heckle. Sample dialogue...