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Conrad in Italy provides international students and researchers with a variety of critical approaches. 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'sPortrait 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 theThe 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 ofChance 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'sTenebre sul Congo are two exercises in dialogic reading which confirm Conrad's well-established reception in Italian culture.