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.