Università degli studi di Torino: [email protected] - SIstema RIviste Open access
Not a member yet
8504 research outputs found
Sort by
On the Correct Reading of Metaphysics V 7, 1017a 34–35. The Logic Behind Aristotle’s Example of the Diagonal
No full textThis paper aims to clarify the opposition between Alexander of Aphrodisias, followed by Hermann Bonitz on one side, and Thomas Aquinas, followed by Lambertus Marie de Rijk on the other, regarding the correct reading of an example proposed by Aristotle in Metaphysics V 7, 1017a 34–35, which involves the diagonal and its incommensurability with the side. The author aims to demonstrate that Aquinas’s interpretation (and De Rijk’s one) cannot be accepted and that we should follow Alexander of Aphrodisias and Bonitz
Autofiction Is Not a Centaur: A Genre Model for Autofiction as Fiction
No full textThe definitory debate that from its very inception autofiction sparked within the French critical landscape, later taken up by critics working in other languages, never fully caught on with English scholars. Conceptualising fiction as a mode and, above all, as a form of generic and discursive hybridity, English scholarship has so far mostly sidestepped the issue of what autofiction is in favour of the more pragmatic question of its effects. By mobilising a cognitive, storyworld and rhetorical approach to fictionality, as well as theories of autofiction in other languages, the article first exposes the hybridity argument as spurious, and then argues for a model of autofiction as a form of the novel and a genre in its own right. A definition of autofiction is proposed that, as shown via a selection of works by Jeannette Winterson, Bret Easton Ellis, Paul Auster and Sheila Heti, fully accounts for the diversity of autofiction in English. Staking out a distinct place for autofiction in the literary system – the article claims – helps to guide readers past the impasse of reversible generic attribution, but it also lays the groundwork for more nuanced debates on the specificity of each individual work within the spectrum, ultimately furthering the work of autofiction scholars in the Anglosphere. 
«Un outsider spirituale». Carlo Coccioli nel controcanone letterario di Pier Vittorio Tondelli
No full textIl saggio esamina l’attenzione critica dedicata da Pier Vittorio Tondelli all’opera di Carlo Còccioli, evidenziandone l’importanza nel panorama della letteratura italiana contemporanea come pure nella costruzione di un più ampio controcanone queer, nonostante la marginalità in cui è stata fin dall’inizio confinata, anche per la scelta dell’autore di vivere lontano dall’Italia. Tondelli manifesta ammirazione per le transizioni religiose, l’apertura alle culture orientali, la valorizzazione della dimensione corporea e l’impulso autodistruttivo presenti nei romanzi di Coccioli, con un interesse culminante nella sua recensione di Piccolo Karma (1987), dopo la quale i due autori si incontreranno per via epistolare e poi di persona. Riconoscendo la distanza di Coccioli, da lui stesso proclamata, tanto dalla letteratura impegnata quanto dallo sperimentalismo della neoavanguardia, Tondelli confronta la sua opera, sul piano tematico e formale, con autori della Beat Generation svalutati dalla critica militante, con altri prosatori e poeti internazionali e con sé stesso. Su queste premesse, il saggio analizza in particolare come la matrice religiosa non confessionale dei romanzi coccioliani – mai disgiunta dalla dimensione fisica del desiderio, della sessualità, della stimolazione allucinatoria – si accompagni a scelte stilistiche che scardinano la forma tradizionale del romanzo a favore del diario, della scrittura epistolare, del frammento, della contaminazione tra generi, lingue e prospettive narranti diverse. I temi cari a Coccioli, comprese le molteplici rappresentazioni della relazione omosessuale dal Cielo e la terra (1950) a Davide (1976) a Fabrizio Lupo (1978), incrociano così la ricerca dell’ultimo Tondelli di un modello romanzesco e sentimentale incentrato sulla fenomenologia dell’abbandono, sulle «camere separate», sulla tormentata religiosità di chi si ribella a Dio, ma continua a interrogarsi sul ruolo della Grazia. 
Aproximación al estudio histórico de la fraseología dialectal hispánica: una propuesta lexicográfica y su aplicación al español de Canarias
No full textEl interés por el estudio diacrónico de la fraseología ha experimentado una gran progresión en las últimas décadas, especialmente desde la aparición de los trabajos fundamentales de Echenique Elizondo (2003 y 2008). En el marco de las pautas metodológicas de esta investigadora, la presente contribución se centra en la importancia del conocimiento de la fraseología dialectal hispánica, pues no puede aspirarse a estudiar rigurosamente la historia global de las expresiones fijas de una lengua sin atender a sus variedades dialectales. Asimismo, y en la línea de propuestas lexicográficas como el DHISFRAES, se plantea la posibilidad de llevar a cabo un proyecto de Diccionario histórico-fraseológico del español de Canarias.
Diachronic studies of phraseology have experienced a great progression in recent decades, especially since the appearence of the fundamental works of Echenique Elizondo (2003 and 2008). Within this framework, this contribution focuses on the relevance of a deep knowledge of the Hispanic dialectal phraseology, since the achievement of approaching a rigorous study of the global history of the phraseology of a language cannot be achieved without considering its dialectal varieties. In addition, and in line with lexicographic proposals such as DHISFRAES, the possibility of carrying out a project for a Historical-Prhaseological Dictionary of Canary Islands Spanish is proposed.El interés por el estudio diacrónico de la fraseología ha experimentado una gran progresión en las últimas décadas, especialmente desde la aparición de los trabajos fundamentales de Echenique Elizondo (2003 y 2008). En el marco de las pautas metodológicas de esta investigadora, la presente contribución se centra en la importancia del conocimiento de la fraseología dialectal hispánica, pues no puede aspirarse a estudiar rigurosamente la historia global de las expresiones fijas de una lengua sin atender a sus variedades dialectales. Asimismo, y en la línea de propuestas lexicográficas como el DHISFRAES, se plantea la posibilidad de llevar a cabo un proyecto de Diccionario histórico-fraseológico del español de Canarias.
Diachronic studies of phraseology have experienced a great progression in recent decades, especially since the appearence of the fundamental works of Echenique Elizondo (2003 and 2008). Within this framework, this contribution focuses on the relevance of a deep knowledge of the Hispanic dialectal phraseology, since the achievement of approaching a rigorous study of the global history of the phraseology of a language cannot be achieved without considering its dialectal varieties. In addition, and in line with lexicographic proposals such as DHISFRAES, the possibility of carrying out a project for a Historical-Prhaseological Dictionary of Canary Islands Spanish is proposed
Max Aub según Max Aub: Hablo como hombre o el testamento de un escritor
No full textEl artículo abarca el estudio del volumen misceláneo que Max Aub publica en 1967, Hablo como hombre, compuesto por discursos, cartas y ensayos escritos entre 1937 y 1964 y ordenados cronológicamente, en una recopilación razonada y retrospectiva. El libro se abre con un sintético autorretrato del escritor y contiene textos heterogéneos que ayudan a reconstruir la evolución literaria de Aub y su peculiar concepción del realismo, reflejo de un preciso compromiso político y humano. A través del estudio de una selección de ensayos de Hablo como hombre y considerando el rechazo del autor a la exhibición subjetiva, que se manifiesta en distintas obras y formas, se intentará demonstrar la vocación autobiográfica del volumen, que puede interpretarse como un “testamento literario”.
The article covers the study of the miscellaneous volume that Max Aub publishes in 1967, Hablo como hombre, composed of speeches, letters and essays written between 1937 and 1964 and arranged chronologically, according to a reasoned and retrospective compilation. The book opens with a synthetic self-portrait of Aub and contains heterogeneous texts that help to reconstruct the literary evolution of the author and his peculiar conception of realism, a reflection of a precise political and human commitment. Through the study of a selection of essays from Hablo como hombre and considering the author's rejection of subjective exhibition, which is manifested in different works and forms, we will try to demonstrate the autobiographical vocation of the volume, which can be interpreted as a ‘literary testament’.The article covers the study of the miscellaneous volume that Max Aub publishes in 1967, Hablo como hombre, composed of speeches, letters and essays written between 1937 and 1964 and arranged chronologically, according to a reasoned and retrospective compilation. The book opens with a synthetic self-portrait of Aub and contains heterogeneous texts that help to reconstruct the literary evolution of the author and his peculiar conception of realism, a reflection of a precise political and human commitment. Through the study of a selection of essays from Hablo como hombre and considering the author's rejection of subjective exhibition, which is manifested in different works and forms, we will try to demonstrate the autobiographical vocation of the volume, which can be interpreted as a ‘literary testament’.
El artículo abarca el estudio del volumen misceláneo que Max Aub publica en 1967, Hablo como hombre, compuesto por discursos, cartas y ensayos escritos entre 1937 y 1964 y ordenados cronológicamente, en una recopilación razonada y retrospectiva. El libro se abre con un sintético autorretrato del escritor y contiene textos heterogéneos que ayudan a reconstruir la evolución literaria de Aub y su peculiar concepción del realismo, reflejo de un preciso compromiso político y humano. A través del estudio de una selección de ensayos de Hablo como hombre y considerando el rechazo del autor a la exhibición subjetiva, que se manifiesta en distintas obras y formas, se intentará demonstrar la vocación autobiográfica del volumen, que puede interpretarse como un “testamento literario”
«Eine solche Mannigfaltigkeit in den Schattierungen des Tons»: Ulteriori considerazioni su Johann Sebastian Bach e il clavicordo
No full textJohann Sebastian Bach’s predilection for the clavichord, reported to us by Forkel in a passage of his biography (the result of direct and epistolary acquaintance with Wilhelm Friedemann, as his pupil, and with Carl Philipp Emanuel) was challenged by Wanda Landowska in an attempt to make the Pleyel harpsichord named after her a new star in concert halls. Because of its intimate domestic nature, the clavichord could not lend itself to the solo recital ritual that would take over from Liszt’s time. The present contribution aims to restore the clavichord to its prominent role in the history of music of the Baroque era, mainly from the German area, by attempting to clarify the ambiguities related to the common use of the German word 'Clavier' to refer to the clavichord (the most widespread of all keyboard instruments) and to reflect on the destination of Bach’s keyboard works. The use of the clavichord (even with pedalboard) as the main instrument for the daily study and preparation of organists is witnessed from the 15th century until well into the 19th century. The frequent presence of clavichords in literature, didactic and domestic use naturally corresponded with a great constructive fervor that also involved Bach's relatives and pupils. With German-speaking emigrants to England Das wohltemperierte Clavier was long rendered in English as The Well Tempered Clavichord. Picking up the pioneering efforts of Pauer and Hipkins, Arnold Dolmetsch began making copies of clavichords in London in the last decade of the 19th century. Many sources advocating the use of the clavichord are examined, from Kuhnau to Walther, from Händel (who already in London advised against the use of the harpsichord and organ for beginners) to Mattheson. An interpretation given by the author of a passage involving two Italian chapel masters going to hear Bach on the clavichord further confirms Kantor's predilection for the most expressive of all keyboard instruments.La predilezione per il clavicordo di Johann Sebastian Bach, riportataci da Forkel in un passaggio della sua biografia (frutto della frequentazione diretta ed epistolare con Wilhelm Friedemann, in qualità di suo allievo, e con Carl Philipp Emanuel) è stata messa in discussione da Wanda Landowska nel tentativo di rendere il clavicembalo Pleyel a lei intitolato un nuovo protagonista delle sale da concerto. Per la sua intima natura domestica il clavicordo non poteva prestarsi al rito del recital solistico che dall’epoca di Liszt prenderà il sopravvento. Il presente contributo vuole restituire al clavicordo il suo ruolo di primo piano nella storia della musica dell’età barocca, principalmente di area tedesca, cercando di chiarire le ambiguità legate all’uso comune della parola tedesca ‘Clavier’ per indicare il clavicordo (il più diffuso di tutti gli strumenti a tastiera) e di riflettere sulla destinazione delle opere tastieristiche di Bach. L’utilizzo del clavicordo (anche con pedaliera) come strumento principale per lo studio quotidiano e la preparazione degli organisti è testimoniato dal Quattrocento fino ad Ottocento inoltrato. Alla frequente presenza dei clavicordi nella letteratura, nell’uso didattico e domestico corrispose naturalmente un grande fervore costruttivo che coinvolse anche parenti e allievi di Bach. Con gli emigrati di lingua tedesca in Inghilterra Das wohltemperierte Clavier fu a lungo reso in inglese come The Well Tempered Clavichord. Raccogliendo i pionieristici sforzi di Pauer e di Hipkins, Arnold Dolmetsch iniziò a fabbricare copie di clavicordi a Londra nell’ultimo decennio del diciannovesimo. Molte fonti che caldeggiano l’uso del clavicordo sono prese in esame, da Kuhnau a Walther, da Händel (che già a Londra sconsigliava l’uso del clavicembalo e dell’organo per i principianti) a Mattheson. Un’interpretazione data dall’autore di un passaggio che coinvolge due maestri di cappella italiani che si recano ad ascoltare Bach al clavicordo conferma ulteriormente la predilezione del Kantor per il più espressivo di tutti gli strumenti a tastiera
Graffiti in Shanghai and Chengdu: Looking for Chinese writing, symbols and calligraphy along the streets
No full textAfter a brief introduction to the origins and development of graffiti in China, this paper first examines the graffiti scene in Shanghai through two prominent figures. On one hand, the analysis focuses on 1. the OOPS crew—Shanghai’s most renowned and influential graffiti crew, composed of both Chinese and Western members. The crew merges the Western graffiti art movement with Chinese artistic and cultural traditions, incorporating Chinese characters, calligraphy, and ancient symbols into their work. On the other hand, within this same international context, the paper considers; 2. Dezio, a French graffiti writer highly regarded in Shanghai, who integrates Chinese characters and employs a Chinese tag in his creations. These two actors exemplify the cultural cosmopolitanism and intercultural dynamics that make Shanghai fertile ground for creative expressions born from cross-cultural ‘contamination.’ To further explore the diffusion of graffiti art in China, this paper also investigates the graffiti scene in Chengdu. The analysis focuses on two case studies: 1. GAS, one of Chengdu’s most prominent graffiti writers, who expresses his identity and artistic intent through his Chinese tag (qi 氣). His works are centered on Chinese script, frequently utilizing traditional characters and drawing inspiration from Chinese calligraphy to create a distinctive, locally oriented graffiti style; 2. Fan Sack, who began his career as a graffiti writer in Chengdu and now resides and works in Paris. Transitioning from graffiti writing to figurative paintings inspired by Buddhist themes, Fan Sack has developed a more representational artistic language, spreading his work throughout Europe
Cesare Musatti, un pioniere della pediatria italiana e molto altro
No full textCesare Musatti (1845-1930) was a Venetian pioneer of pediatrics known for his tireless fight against prejudices of the time on child life and child rearing, testified in his book Occhio ai bambini! (Pay attention to children!). However, he had other strong cultural interests too. An eclectic personality, he particularly loved his native dialect collecting proverbs and mottos, explaining their contents and exploring their history. A great admirer of Carlo Goldoni, he studied his use of dialect and composed a literary work entitled Amor materno nel dialetto veneziano (Mother’s Love in Venetian Dialect), a collection of maternal sayings unanimously recognized as his masterpiece, far more than the work of a mere scholar.Cesare Musatti (1845-1930) fu un pioniere veneziano della pediatria noto per la sua instancabile lotta contro i pregiudizi dell’epoca su vita e allevamento infantili, testimoniata nel suo libro Occhio ai bambini! Egli ebbe però anche altri forti interessi culturali. Personalità eclettica, in particolare amò profondamente il dialetto natio collezionando proverbi e motti in vernacolo, spiegandone i contenuti ed esplorandone la storia. Grande estimatore di Carlo Goldoni, ne studiò l’impiego letterario del dialetto e compose un’opera intitolata Amor materno nel dialetto veneziano, una raccolta di motti materni unanimemente riconosciuta come il suo capolavoro, ben più che il lavoro di un semplice erudito
Simbología, intertextualidad y roles sexuales en Rabia (2004), de Sergio Bizzio
No full textEste trabajo estudia el entramado simbólico e intertextual de Rabia (2004), de argentino Sergio Bizzio, mostrando que, amén de denunciar la desigualdad económica, como ha señalado la crítica, la novela presenta una estructura simbólica que conecta el problema de la desigualdad con actitudes y roles de índole sexual, y concretamente con la idea de virilidad impuesta por el patriarcado.This paper studies the symbolic and intertextual framework of Rabia (2004), by the Argentinean Sergio Bizzio, showing that, in addition to denouncing economic inequality, as critics have pointed out, the novel presents a symbolic structure that connects the problem of ine-quality with sexual attitudes and roles, and specifically with the idea of virility imposed by patriarchy