Open Access Scientific Journals of the Department of Foreign Languages and Literatures of the University of Verona
Not a member yet
1385 research outputs found
Sort by
Navigare tra storia, sentimento e ironia: Aleksandr Bestužev
No full textRiassunto: Nell’opera di A. Bestužev la navigazione è un tema ricorrente. In ogni testo la storia dei personaggi si intreccia alla Storia. I versi Duch buri (1818) rievocano le esplorazioni di Vasco da Gama. In Noč’ na korable (1823) e in Fregat «Nadežda» (1833) dominano i motivi romantici – la passione, l’amicizia, l’onore, il dovere, il destino – e la navigazione diventa lo spazio di sentimenti indomabili come le forze della natura. Morechod Nikitin (1834) ha un intento polemico-parodico e il viaggio dell’eroe nelle acque della Dvina e del Mar Bianco si trasforma nel viaggio dell’autore nell’oceano delle querelles contemporanee.
Abstract: In A. Bestuzhev’s work, navigation is a recurring theme. In each text, the story of the characters is intertwined with History. The verses Dukh buri (1818) evoke the explorations of Vasco da Gama. In Noch’ na korable (1823) and Fregat “Nadezhda” (1833) romantic motifs dominate – passion, friendship, honour, duty, destiny – and navigation becomes the space for feelings as untamable as the forces of nature. Morekhod Nikitin (1834) has a polemical-parodic intent and the hero’s voyage into the waters of the Dvina and the White Sea becomes the author’s voyage into the ocean of contemporary querelles.
Parole chiave: Aleksandr Bestužev, Duch buri, Noč’ na korable, Fregat «Nadežda», Morechod Nikitin, navigazione, parodia
Key Words: Alexander Bestuzhev, Dukh buri, Noch’ na korable, Fregat “Nadezhda”, Morekhod Nikitin, Shipping, Parod
Et les navigatrices? George Sand, Flora Tristan et les autres
No full textRésumé : Plus habituées à une pénible navigation dans les rédactions ou les antichambres des éditeurs, les écrivaines romantiques ont toutefois laissé une pléthore de récits ou oeuvres de fictions relatifs au voyage, où la navigation a une grande part. Transocéaniques, méditerranéennes ou fluviales, autobiographiques ou fictionnelles, chez Flora Tristan, Suzanne Voilquin, Valérie de Gasparin, George Sand ces navigations sont le point de départ de réflexions intimes, personnelles ou sociales, et encore sur la féminité et la condition des femmes, élargies au niveau international, dont les aventures maritimes constituent le contrepoint.
Abstract: More accustomed to an arduous navigation in the editorial offices or the antechambers of publishers, Romantic women writers nevertheless left behind a plethora of stories or fictions relating to travel, in which navigation plays a large part. Transoceanic, Mediterranean, or fluvial, autobiographical or fictional, in the works of Flora Tristan, Suzanne Voilquin, Valérie de Gasparin, George Sand, these navigations are the starting point for intimate, personal or social reflections, in particular on femininity and the condition of women, extended at an international level, of which maritime adventures are the counterpoint.
Mots clés: navigation, écrivaines françaises, George Sand, Flora Tristan, Suzanne Voilquin, Valérie de Gasparin, XIXe siècle.
Keywords: Navigation, French Women Writers, George Sand, Flora Tristan, Suzanne Voilquin, Valérie de Gasparin, 19th Century
A las lesbianas guineanas les faltan referentes / Guinean Lesbians lack References
No full textSi propone in traduzione il testo A las lesbianas guineanas les faltan referentes, parte delle 35 interviste realizzate dalla scrittrie e attivista Trifonia Melibea Obono a donne lesbiche e trans MtF pubblicate in forma di racconto-testimonianza in Yo no quería ser madre: vidas forzadas de mujeres fuera de la norma (2020).The text A las lesbianas guineanas les faltan referentes is presented here in the translation by Paola Bellomi, part of the 35 interviews conducted by writer and activist Trifonia Melibea Obono with lesbian and FtM trans men, published as a testimonial narrative in Yo no quería ser madre: vidas forzadas de mujeres fuera de la norma (2020)
«Y en haver rompido sus picas, pusieron mano a las espadas». Un torneo caballeresco en El cortesano (1561) de Luis Milán
No full textEl presente artículo analiza el episodio de la Máscara de griegos y troyanos en El cortesano (1561) de Luis Milán y la influencia de la ficción caballeresca en su construcción literaria. En la primera parte, se describe una breve aproximación histórica y cultural de la obra, así como también el vínculo entre la ficción caballeresca y la fiesta cortesana de la época. La segunda parte consiste en el estudio de la Máscara y su relación con el torneo caballeresco detallando las similitudes en la estructura, los motivos caballerescos y el léxico utilizado.El presente artículo analiza el episodio de la Máscara de griegos y troyanos en El cortesano (1561) de Luis Milán y la influencia de la ficción caballeresca en su construcción literaria. En la primera parte, se describe una breve aproximación histórica y cultural de la obra, así como también el vínculo entre la ficción caballeresca y la fiesta cortesana de la época. La segunda parte consiste en el estudio de la Máscara y su relación con el torneo caballeresco detallando las similitudes en la estructura, los motivos caballerescos y el léxico utilizado. El presente artículo analiza el episodio de la Máscara de griegos y troyanos en El cortesano (1561) de Luis Milán y la influencia de la ficción caballeresca en su construcción literaria. En la primera parte, se describe una breve aproximación histórica y cultural de la obra, así como también el vínculo entre la ficción caballeresca y la fiesta cortesana de la época. La segunda parte consiste en el estudio de la Máscara y su relación con el torneo caballeresco detallando las similitudes en la estructura, los motivos caballerescos y el léxico utilizado. This article analyses the episode of the Máscara de griegos y troyanos in Luis Milán\u27s El cortesano (1561) and the influence of chivalric fiction in its literary construction. In the first part, a brief historical and cultural approach to the work is described, as well as the link between chivalric fiction and the courtly festivity of the time. The second part consists of the study of the Masque and its relationship with the chivalric tournament, detailing the similarities in the structure, the chivalric motifs and the lexicon used
Negotiating Pride and Vulnerability in Maud Howe’s Roma Beata – Letters from the Eternal City
No full textWomen’s travel narratives have long occupied an ambivalent position within dominant cultural frameworks, simultaneously supporting imperialist discourses and offering critical insights into ethnocentrism and cultural biases. This essay examines the intersections of domesticity, gender, and imperialism in Maud Howe Elliott’s Roma Beata: Letters from the Eternal City (1904), focusing on her portrayals of post-unitarian Italy (1884–1900). By positioning Howe’s perspectives within the broader transnational currents of 19th-century travel writing and its marketplace, this essay draws on postcolonial and gender theories to analyze her negotiation of the traditional American / Anglo-Saxon gaze on Southern Europe. At the same time, this essay pays attention to Howe Elliott’s complex relationship with emergent US imperialism and her own roots in New England’s culture, by adopting the emotional framing of pride and vulnerability. Finally, by emphasizing the critical interplay between domesticity and the imperialist thought, this essay explores Howe’s evolving engagement with the Italian scene (symbolized by the terrace of her Roman home)
Active Agencies of Compromise: Hawthorne and the European Limits of the American Romance
No full textTaking the cue from some of Melville’s most intense epistolary exchanges with Hawthorne, this essay highlights the two writers’ different codes of heroics to revisit “the heroism of compromise” in The Scarlet Letter and The House of the Seven Gables. It argues that this version of cultural heroism – allegedly, a unique aesthetic and political achievement of Hawthorne’s romances (Bercovitch 1993; 1991; 1988) – may in fact be reassessed within the broader debate on the novel as a romantic form of art in 19th-century aesthetics and genre theory. In Hegel’s terms, Hawthorne may be said to have dramatized the common “collisions” of the “novel in the modern sense,” so as to adopt and put the typical solution of the classical Bildungsroman (“the education of the individual in the actual world” and his/her reconcilement with “the order of things”) at the service of the American ideology. By so doing, he hybridizes his American romances with all the limits and aporias of the European novel. He transforms his New-World modern knights into Old-World-like middle-class conformists, exposing his plot resolutions to a contentious dispute over the balance of aesthetic gains and ideological losses in literature as cultural work
La celebración de la palabra: Astolfo, paladín parlanchín en el Mambriano
No full textIl saggio analizza l’uso della parola da parte del personaggio di Astolfo nel Mambriano di francesco Cieco da Ferrara, all’interno della costruzione di una nuova corte di Carlo Magno che l’autore rappresenta nella sua opera. La parola irriverente e burlesca di Astolfo, specie nel contesto collettivo della festa, provoca il riso e induce a una regolamentazione di sentimenti come l’invidia e atteggiamenti come la maldicenza. Un tratto specifico di un personaggio tradizionale e caro al pubblico, il suo essere il fool all’interno del gruppo, insieme all’uso di una parola comica e retoricamente efficace diventano strumenti per catalizzare le aggressività interne, rielaborarle e mitigarne gli effetti.The essay analyses the use of speech by the character of Astolfo in Francesco Cieco da Ferrara\u27s Mambriano within the construction of a new court of Charlemagne that the author represents in his work. Astolfo\u27s irreverent and burlesque speech, especially in the collective context of the feast, provokes laughter and induces the regulation of feelings such as envy and attitudes such as backbiting. A specific trait of a traditional character dear to the audience, his being the fool within the group, and the use of a comic and rhetorically effective speech become tools to catalyse internal aggressions, rework them and mitigate their effects.La propuesta analiza el uso que hace de la palabra el personaje de Astolfo en el Mambriano de Francesco Cieco da Ferrara, dentro del contexto de la construcción de una nueva corte de Carlomagno que el autor representa en su obra. Las palabras irreverentes y burlescas de Astolfo, especialmente en el contexto colectivo de la fiesta, provocan risas y llevan a una regulación de sentimientos como la envidia y actitudes como la calumnia. Un rasgo específico de un personaje tradicional querido por el público, el del fool dentro del grupo, junto con el uso de una palabra cómica y retóricamente eficaz, se convierten en herramientas para catalizar las tensiones internas a la obra, reelaborarlas y mitigar sus efectos.La propuesta analiza el uso que hace de la palabra el personaje de Astolfo en el Mambriano de Francesco Cieco da Ferrara, dentro del contexto de la construcción de una nueva corte de Carlomagno que el autor representa en su obra. Las palabras irreverentes y burlescas de Astolfo, especialmente en el contexto colectivo de la fiesta, provocan risas y llevan a una regulación de sentimientos como la envidia y actitudes como la calumnia. Un rasgo específico de un personaje tradicional querido por el público, el del fool dentro del grupo, junto con el uso de una palabra cómica y retóricamente eficaz, se convierten en herramientas para catalizar las tensiones internas a la obra, reelaborarlas y mitigar sus efectos
Il Corsaro di Giovanni Galzerani: danza, medialità e storiografia del Risorgimento
No full textRiassunto: L’articolo ha come oggetto di ricerca la congiuntura politica, culturale e percettiva nella quale si produce, realizza e riceve Il Corsaro di Giovanni Galzerani, ballo grande rappresentato per la prima volta al Teatro alla Scala di Milano nel 1826 e poi messo in scena nella versione più nota di Joseph Mazilier (Parigi, 1856), con una amplificazione degli effetti spettacolari delle avventure marinaresche che rispondono ai desideri di identificazione del pubblico nei personaggi. L’attenzione alla dimensione mediatica che unisce istanze locali, nazionali ed europee a partire dal successo dell’omonimo poema in versi di Lord Byron (1814) cerca di verificare se e come la danza romantica sia stata usata anche per proiettare immagini di identità nazionali, a partire da documenti testuali e visivi rintracciati negli archivi locali e per la prima volta messi in dialogo.
Abstract: The article researches the political, cultural and perceptive conjuncture in which Il Corsaro by Giovanni Galzerani was produced, realised and received. It is a ‘ballo grande’ first performed at La Scala in Milan in 1826 and then staged in the better-known version by Joseph Mazilier (Paris, 1856), with an amplification of the spectacular effects of the seafaring adventures that responded to the public’s desire to identify with the characters. The focus on the media dimension that unites local, national and European instances starting from the success of Lord Byron’s verse poem of the same name (1814) seeks to verify if and how romantic dance was used to project images of national identities, starting from textual and visual documents found in local archives and for the first time put into dialogue.
Parole chiave: ballo romantico italiano, Giovanni Galzerani, identità nazionale, archivi locali
Key words: Italian Romantic Ballet, Giovanni Galzerani, National Identity, Local Archive
Decentering the Anthropos: Reflections on Christoph Ransmayr\u27s Early Prose
No full textIn critiques of the Anthropocene, blame is often placed on technology and science for bringing the planet to the brink of collapse. However, what role have literature and culture played in this? Christoph Ransmayr’s subtly engage with this question, which the author attempts to answer by decentering the human and allowing the literary text itself to speak. This essay analyzes the contribution that Ransmayr’s early prose offers to contemporary ecocritical reflection through a deeply personal and profoundly pessimistic approach that overturns the constructive utopias predicting the recovery of a balance between humanity and the planet through renewed environmental awareness. Instead, Ransmayr theorizes the future salvation of the planet through the necessary but painful erasure of the human.Nella critica dell’Antropocene si punta sempre il dito contro la tecnica e la scienza, accusate di aver condotto il pianeta al collasso. Ma quale ruolo hanno giocato la letteratura e la cultura in questo processo? I testi di Christoph Ransmayr sono permeati da questo interrogativo, a cui l’autore tenta di rispondere decentrando l’umano e lasciando che il testo letterario parli da sé. Il saggio analizza il contributo che la prima prosa di Ransmayr offre alla riflessione ecocritica contemporanea, attraverso un approccio altamente personale e di profondo pessimismo, che sovverte le utopie costruttive che profetizzano il recupero di un equilibrio tra uomo e pianeta sotto il segno di una rinnovata consapevolezza della necessità di tutelare l’ambiente. Ransmayr, invece, arriva a teorizzare la salvezza futura del pianeta attraverso la necessaria, ma dolorosa, cancellazione dell’umano
Literature and Religions in Contemporary Europe: Some Semiotic Considerations
No full textIl contributo offre una lettura semio-filosofica delle relazioni, date o semplicemente possibili, tra il discorso letterario e il discorso religioso. L’aspetto semiotico concerne il ruolo che la testualità riveste nell’una e nell’altra delle pratiche esaminate. Quello filosofico interessa le domande sul senso di questa coappartenenza, del religioso e del letterario, in seno all’orizzonte della testualità e sulle conseguenze della attuale liquidità digitale, il cui effetto è la decostruzione dell’enunciazione, e il rimpiazzamento della categoria di χρῆσις (del Libro) con la categoria di accesso digitale (solitamente, a un e-Book).This essay offers a semio-philosophical reading of the relations, given or simply possible, between literary discourse and religious discourse. The semiotic aspect concerns the role that textuality plays in either of the practices examined. The philosophical one concerns questions about the meaning of this co-partnership, of the religious and the literary, within the horizon of textuality, and about the consequences of the current digital liquidity, the effect of which is the deconstruction of enunciation, and the replacement of the category of χρῆσις (of the Book) with the category of digital access (usually, to an e-Book)