Open Access Scientific Journals of the Department of Foreign Languages and Literatures of the University of Verona
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The Nuovo Mondo Series and Its Sources
No full textThe article explores the series Il Nuovo Mondo, published by Morlacchi Editore of Perugia (2006-). The series, directed by Clara Bartocci, is the first easy-access collection of Italian translations of texts from the North American colonial period. It includes some of the most important texts from the period’s early literature and historiography, all of which are first translations into Italian. The article examines the bibliography of the series alongside the interests and publications of its director. It analyses the interpretive approach employed and heads towards a critique of this perspective through the lens of contemporary Indigenous Studies. The influence of Leslie Fiedler, Giuliano Gliozzi, Stephen Greenblatt, Margaret Hodgen, Jurij Lotman, Giorgio Spini, and Elémire Zolla emerges. Drawing from these sources, and from the tradition of Italian Americanistica, the series takes a perspective that distances itself from the American practice of observing the colonial past ex parte obiecti, in search for local mythographies, and from the Italians’ historical “juridical-ideological-cultural” focus on the British-puritan experience (Sanfilippo 1990). Instead, it searches for a “Literature” within the texts, focusing on a history of ideologies that seeks their roots in Europe at large, while highlighting heterogeneity among different accounts. While drawing from what are now debated theories, such as James Axtell’s ethnohistory, the series offers a still valuable critique of European settlers’ perceptions of indigenous peoples, remaining a viable tool of popularization of these issues. The article includes an extensive bibliography of the sources of the series, which is intended as a tool for further reconstructions of the tradition of Italian Colonial Studies.The article explores the series Il Nuovo Mondo, published by Morlacchi Editore of Perugia (2006-). The series, directed by Clara Bartocci, is the first easy-access collection of Italian translations of texts from the North American colonial period. It includes some of the most important texts from the period’s early literature and historiography, some of which are first translations into Italian. The article examines the bibliography of the series alongside the interests and publications of its director. It analyses the interpretive approach employed and heads towards a critique of this perspective through the lens of contemporary Indigenous Studies. The influence of Leslie Fiedler, Giuliano Gliozzi, Stephen Greenblatt, Margaret Hodgen, Jurij Lotman, Giorgio Spini, and Elémire Zolla emerges. Drawing from these sources, and from the tradition of Italian Americanistica, the series takes a perspective that distances itself from the American practice of observing the colonial past ex parte obiecti, in search for local mythographies, and from the Italians’ historical “juridical-ideological-cultural” focus on the British-puritan experience (Sanfilippo 1990). Instead, it searches for a “Literature” within the texts, focusing on a history of ideologies that seeks their roots in Europe at large, while highlighting heterogeneity among different accounts. While drawing from what are now debated theories, such as James Axtell’s ethnohistory, the series offers a still valuable critique of European settlers’ perceptions of indigenous peoples, remaining a viable tool of popularization of these issues. The article includes an extensive bibliography of the sources of the series, which is intended as a tool for further reconstructions of the tradition of Italian Colonial Studies
The Art of Generative Narrativity
No full textRecent advancements in generative artificial intelligence (generative AI) technologies have transformed the computer science discipline of natural language processing. However, generative AI retains the anthropomorphic model of simulating human narrative construction and verbal communication whereas, for artists, the ideational exploration is often more important than human mimicry or even plausibility in storytelling. It sometimes leads to generative experiments with non-verbal forms or events that have the potential to incite narratives through the audience’s experience of the works’ functionalities, backgrounds, and contexts. In this paper, we focus on such artistic approaches to narrativity. In five central sections, we discuss interrelated exemplars whose conceptual frameworks, methodologies, and other attributes anticipate or underscore the issues of contemporary linguistic automation based on massive datafication and statistical retrospection. In closing sections, we summarize the expressive features of these exemplars and underline their value for critically assessing generative AI’s cultural influence and fallouts
"Meghillàt Estèr". Toward a Transcultural Concept of Religion in Katja Petrowskaja\u27s Novel Vielleicht Esther
No full textIl presente contributo intende rileggere il romanzo Vielleicht Esther (2014) di Katja Petrowskaja proponendo come chiave di lettura la Meghillàt Estèr della Bibbia ebraica. Si vuole dimostrare come, attraverso questo implicito ma preciso riferimento intertestuale, l’autrice affronti nel romanzo anche una riflessione su una possibile transreligione capace di rispecchiare il contesto transculturale contemporaneo.This contribution analyzes Katja Petrowskaja’s novel Vielleicht Esther (2014) by proposing the Megillàt Estèr from the Hebrew Bible as a key interpretative lens. The aim is to demonstrate how, through this subtle yet deliberate intertextual reference, the author weaves into the novel a reflection on the notion of a transreligion, one that resonates with and articulates the complexities of our contemporary transcultural landscape
La reelaboración (negativa) del simbolismo religioso en la obra tardía de Manuel Álvarez Ortega
No full textThis article aims to show the recourse to the Christian tradition as a source of symbols, metaphors and allegories for the transmedial rhetorical discourse established in Manuel Álvarez Ortega’s poetry, as well as the questioning of the dogmas of that tradition. The main focus is on the dystopian perception of the afterlife and its final denial, the absence-silence of God, his fallibility and his indifference in the face of human suffering.El presente artículo pretende enseñar el recurso a la tradición cristiana como fuente de símbolos, metáforas y alegorías para el discurso retórico transmedial establecido en la obra poética del autor cordobés Manuel Álvarez Ortega, así como el cuestionamiento de los dogmas y los rasgos considerados irrefutables de dicha tradición. El enfoque principal versa sobre la visión distópica del más allá y su negación final, la ausencia-silencio de Dios, su falibilidad y su desinterés frente al sufrimiento del ser humano
Reality and Transition: The "Spiritual" Space in Contemporary Italian Fiction
No full textDialogo con Francesca Matteoni, Giulio Mozzi, Paolo Pecere, Vanni Santoni e Alessandro Zaccuri, a cura di Alessandro Raveggi.A conversation with Francesca Matteoni, Giulio Mozzi, Paolo Pecere, Vanni Santoni, and Alessandro Zaccuri, curated by Alessandro Raveggi
The Covid-19 Pandemic, 2020-2023: Word Formation, Borrowing, and Their Interaction in Italian
No full textThe present paper provides a qualitative investigation into the semantics of Italian Covid-19 terms, with special attention to complex constructs that are the outcomes of contact with English in Italian foreign word formation (Iacobini 2015), and are formed with Covid and corona as first or second constituent. Related questions concern the effects of matter borrowing (i.e. borrowing of individual lexical units [Ten Hacken and Panocová 2020a, 2020b]) onto Italian word formation. That is, the reinforcing effect that new foreign word formations in analogue pairs and sets of analogues might have on specific native or foreign Italian word formation patterns and schemas. The findings return an extremely varied picture. Roughly, the analysis demonstrates the general adherence of Italian to the Left-Hand Head Rule principle in case of Adjective-Noun and Noun-Noun constructs, e.g. tassa Covid, a classificatory noun and a pseudo-Anglicism, vis-à-vis English Covid tax. Second, Anglicisms increase contact with right-headed word formations in Italian, and local analogy can be established with earlier Anglicisms, based on formal similarity, and with an identical second element, e.g. the semantic pseudo-Anglicism Covid Tax, a Name, possibly formed after English Tobin Tax. Luxury loans—or, according to Öhmann’s (1961) canonical definition, borrowings that can be considered semantic equivalents of words in the receiving language—are another way to reinforce contact with Anglicisms and awareness of mirror structures, e.g. green pass, a pseudo-Anglicism, and the hybrids Covid pass and pass Covid. Third, reinforcing effects can be observed for specifications of [Prep-N]A,N and [Adv-N]A,N schemas—as in non-Covid.N ‘anti-Covid vaxxer,’ a hybrid, and no-Covid.N ‘anti-Covid vaxxer,’ either a hybrid or a pseudo-Anglicisms. These effects are also demonstrated in word-formations within Italian, for instance the pseudo-Anglicisms Fontanavirus and Contevirus, which are formed locally on the Anglicism and model analogue Coronavirus, with a shift from Noun to Name in left position, and different context-based processes of meaning building
Metaphorizing the Discourse of Challenging Times: An Afterword
No full textAfterword to the Special Section Discourses in Challenging Times
Digital/Electronic Literature from the USA: Theories, Forms and Practices: An Introduction
No full textIntroduction to the special section of the Iperstoria issue “Digital/Electronic Literature from the USA: Theories, Forms and Practices.
Una “onça” minaccia la sorte di Clarimundo
No full textMuito jovem, mas já como «moço da guarda-roupa» do príncipe D. João, filho de D. Manuel I, João de Barros (1496-1570) escreveu a Crônica do Imperador Clarimundo (1522). Contrariando sua expectativa de, com ela, apenas «treinar a pena para obras de maior fôlego», a narrativa ganhou várias reedições. Texto bem estruturado, acompanha a formação de Clarimundo, nas armas e no amor, do nascimento à realeza e morte. Suas «aventuras», recheadas de imagens e símbolos, vão além do panorama histórico quinhentista em que se ancoram. Em uma delas, de largas implicações, Clarimundo enfrenta uma «onça», animal cuja dificuldade de identificação começa pela etimologia do vocábulo. É o que este artigo pretende examinar.Molto giovane, ma già “gentiluomo di camera” del principe João, il figlio di re Manuel, João de Barros (1496-1570) scrisse la Cronaca dell\u27imperatore Clarimundo (1522). Contrariamente alle sue aspettative, ovvero che con essa avrebbe semplicemente “allenato la sua penna per opere di più ampio respiro”, la narrazione vide un buon numero di ristampe. Si tratta di un testo ben strutturato che segue lo sviluppo di Clarimundo nelle armi e nell\u27amore, dalla nascita alla regalità e alla perdita del figlio D. Sancho. Le sue “avventure”, piene di immagini e simboli, vanno oltre il panorama storico del XVI secolo a cui sono ancorate. In una di esse, con implicazioni di vasta portata, Clarimundo affronta un giaguaro (“onça”), un animale la cui difficoltà di identificazione inizia con l\u27etimologia della parola: ciò che questo articolo intende esaminare è proprio quest’ultimo aspetto dell’opera.Muy joven, pero ya “caballero de cámara” del príncipe João, el hijo del rey Manuel, João de Barros (1496-1570) escribió la Crónica del emperador Clarimundo (1522). Contrariamente a sus expectativas, es decir, que con él simplemente "entrenaría su pluma para obras más amplias", la narración tuvo un buen número de reimpresiones. Es un texto bien estructurado que sigue la evolución de Clarimundo en las armas y en el amor, desde su nacimiento hasta el reinado y la pérdida de su hijo D. Sancho. Sus "aventuras", llenas de imágenes y símbolos, van más allá del panorama histórico del siglo XVI al que están ancladas. En una de ellas, con implicaciones de gran alcance, Clarimundo se enfrenta a un jaguar (“onça”), un animal cuya dificultad de identificación comienza con la etimología de la palabra: lo que este artículo pretende examinar es precisamente este último aspecto del trabajo.Very young, but already a “gentleman of the bedchamber” to Prince João, King Manuel\u27s son, João de Barros (1496-1570) wrote the Chronicle of Emperor Clarimundo (1522). Contrary to his expectations that with it he would simply “train his pen for works of broader scope”, the narrative was reprinted several times. A well-structured text, it follows Clarimundo’s development in arms and in love, from birth to royalty and loss of his son D. Sancho. His “adventures”, filled with images and symbols, go beyond the 16th-century historical panorama in which they are anchored. In one of them, with far-reaching implications, Clarimundo confronts a jaguar (“onça”), an animal whose difficulty in identification begins with the etymology of the word. This is what this paper aims to examine