Open Access Scientific Journals of the Department of Foreign Languages and Literatures of the University of Verona
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A Janus-faced Empire: The Decolonization and Recolonization of American Literature
No full textUpon gaining independence from Great Britain, the newly formed United States of America underwent a rapid process of cultural decolonization, including the development of a native and self-sovereign ‘American Literature’ throughout the long 19th century. Yet just as quickly, the US pursued a concurrent process of overseas empire-building that brought into the American cultural and literary sphere a number of (neo)colonies including the Philippines, Puerto Rico, Haiti, Nicaragua, Liberia, Alaska, and Hawai’i. The result is a body of un- and under-studied literature from American-occupied territories, past and present, produced by subalterns who wrote while subject to the Stars and Stripes, often during a period of recolonization after the initial European colonizers had been supplanted. As I argue in my article, by using this innovative transcolonial framework we can chart and consider this concurrent process of decolonization at home and recolonization abroad, juxtaposing works of literature from US/American writers and gaining crucial insight into both the United States and the nature of colonialism itself
Female Hamlets: Portraits of Actresses in 19th-Century American Theatre
No full textNei primi decenni del diciannovesimo secolo il personaggio di Amleto ha esercitato un richiamo irresistibile nei confronti di molte attrici anche perché nei ruoli ‘in calzamaglia’ vi era la possibilità di sfuggire alla censura che l’esibizione del corpo femminile avrebbe provocato. La grande epoca di Amleto al femminile è stata il diciannovesimo secolo, durante il quale quasi tutte le grandi attrici del tempo si sono misurate con quel ruolo. A partire dalla prospettiva più ampia secondo cui una donna che interpreta Amleto non costituisce un paradosso ai fini dell’autenticità dello spettacolo teatrale, lo scopo del presente contributo è concentrarsi su come le interpreti femminili di Amleto, a metà dell’Ottocento tramite il suo personaggio, abbiano in realtà reclamato un posto nella sfera pubblica, affermato il proprio diritto all’esperienza e incarnato il diritto femminile all’educazione e alla formazione.In the early decades of the 19th century, the character of Hamlet often exerted a strange, compelling force upon many actresses and the breeches roles escaped the serious public censure that displays of female flesh could provoke. The great age of the female Hamlet was the 19th century, when nearly every major actress tackled the role. Starting from the broader perspective of how a woman performing Hamlet was no impediment to the paradox of theatrical authenticity, the aim of this paper is to focus on how female Hamlets in the mid-1800s claimed their visible place in the public sphere, asserted a woman’s right to experience and, in a few words, embodied a woman’s right to education
Brave persone
No full textSi presenta la poesia Gute Menschen di Jürg Halter, tratta dalla raccolta Gemeinsame Sprache (2021), in originale in lingua tedesca e nella traduzione italiana di Sandor Marazza.Gute Menschen, a poem by Jürg Halter, from the collection Gemeinsame Sprache (2021) – original version in German, with an Italian translation by Sandor Marazza
Letteratura e ambiente
No full textIntroduction to the Monographic Section of the Fourth Issue of «NuBE».Introduzione alla sezione monografica del quarto numero di «NuBE»
Воображаемый мир героя в романе Ф. Достоевского Преступление и наказание и культурно-исторические рамки романа ХХ века
No full textThe article examines the possibility to realize showing the character both from the extremely internal point of view of his subjectivity and from the objectifying position by means of incorporation of the character’s Imaginary World in Fyodor Dostoevsky Crime and Punishment.
The introduction of an Imaginary World implies such a principle of representation, which allows the Author to reveal the inner essence of the character`s personality to the utmost without having recourse to the direct, external, i.e. object features. Remaining accessible to the observation of the reporting position of the narrator, the internal position of the character is additionally objectified. It becomes available to the character’s self-analysis as well as the one of the other characters. The implementation of the character’s value position in a specific form of the world perceived reveals this world to self-analysis as well as the external assessment (from the virtually real World in the novel). In the analyzed episodes the Imaginary World of Dostoevsky`s characters is a kind of the Chronotope, when, as a result of the conscious or subconscious image-creation of Svidrigailov and Rodion Raskolnikov, a segment of time and space becomes separated from the reality, which recreates the integrity of the world in its new interrelations created by imagination of novel`s character. The imaginary world of a character used by Dostoevsky as an element of the structure of his novel apparently enters the realm of phenomena that are extremely close to the generating principle of the era of artistic modality on the twentieth century culture. The novel of the non-classical era is distinguished by increased reflexivity and desire not so much to reflect reality as to trace the process of one`s own formation. The same applies to representation of a person in a non-classical novel, the basis of which was laid by Dostoevsky in the Crime and Punishment.The Imaginary World of the Character in Fyodor Dostoevsky’s Novel Crime and Punishment and literary-historical framework of twentieth century novel
The article examines the possibility to realize showing the character both from the extremely internal point of view of his subjectivity and from the objectifying position by means of incorporation of the character’s Imaginary World in Fyodor Dostoevsky Crime and Punishment. The introduction of an Imaginary World implies such a principle of representation, which allows the Author to reveal the inner essence of the character`s personality to the utmost without having recourse to the direct, external, i.e. object features. Remaining accessible to the observation of the reporting position of the narrator, the internal position of the character is additionally objectified. It becomes available to the character’s self-analysis as well as the one of the other characters. The implementation of the character’s value position in a specific form of the world perceived reveals this world to self-analysis as well as the external assessment (from the virtually real World in the novel). In the analyzed episodes the Imaginary World of Dostoevsky\u27s characters is a kind of the Chronotope, when, as a result of the conscious or subconscious image-creation of Svidrigaylov and Rodion Raskol\u27nikov, a segment of time and space becomes separated from the reality, which recreates the integrity of the world in its new interrelations created by imagination of novel`s character. The imaginary world of a character used by Dostoevsky as an element of the structure of his novel apparently enters the realm of phenomena that are extremely close to the generating principle of the era of artistic modality on the twentieth century culture. The novel of the non-classical era is distinguished by increased reflexivity and desire not so much to reflect reality as to trace the process of one`s own formation. The same applies to representation of a person in a non-classical novel, the basis of which was laid by Dostoevsky in the Crime and Punishment.
Keywords: Crime and Punishment; Narratology; Imaginary World; XX century Novel
Dario Fo narrador entre teatro y novela
No full textIl contributo si propone di analizzare come Dario Fo fosse solito adattare le proprie qualità narrative modificando le modalità di racconto, nel passaggio dal registro a lui più congeniale, ovvero quello specificamente teatrale, a quello proprio del romanzo. Il presente studio, pertanto, si sofferma sulle scritture di carattere romanzesco, oltreché su altre tipologie di testi in prosa, e sui relativi appunti preparatori inediti, principalmente di argomento storico, al fine di evidenziare le analogie e le differenze con i testi teatrali ad essi collegati per tema o argomento specifico. Si intende inoltre confrontare l’approccio metodologico prediletto per la stesura della prosa narrativa (o simili) con quello utilizzato usualmente dall’autore per il teatro. La contribución pretende analizar cómo Dario Fo adaptaba sus cualidades narrativas modificando las técnicas de narración, en el tránsito del registro que le era más afín, el específicamente teatral, al de la novela. El presente estudio, por tanto, se centra en escritos de carácter ficcional, así como en otro tipo de textos en prosa, y en las notas preparatorias inéditas a ellos relacionadas, principalmente de temática histórica, con el fin de resaltar las similitudes y diferencias con los correspondientes textos teatrales vinculados por un tema o asunto específico. También se pretende comparar el enfoque metodológico adoptado en escribir prosa narrativa (o similar) con el que suele utilizar el autor para el teatro.The contribution aims to analyse how Dario Fo used to adapt his narrative qualities by modifying the modes of narration in the transition from his most congenial register, that is the specifically theatrical one, to that of the novel. The present study focuses on the novelistic writings, as well as on other types of prose texts, and their unpublished preparatory notes, mainly on historical subjects, in order to highlight the similarities and differences with the theatrical texts related to them by theme or specific subject. It is also intended to compare the methodological approach preferred for the writing of prose with the one usually used by the author for the theatre
La biografía latina: notas sobre el género literario
No full textIl saggio intende fornire coordinate per lo studio della biografia latina come genere letterario: dopo una ricognizione delle principali fonti letterarie attestanti l’indipendenza del genere biografico da quello storiografico, saranno selezionati e discussi passi a carattere metodologico su struttura, stile e contenuti dell’enarrare vitas, cercando di identificare linee comuni e tratti ricorrenti di un genere dalla natura ibrida e multiforme. L’analisi si concentrerà su elementi quali cornice narrativa, selezione del materiale narrativo, struttura del testo e relazioni con il genere encomiastico.El ensayo pretende dar unas coordenadas para el estudio de la biografía latina como género literario: tras un recorrido por las principales fuentes literarias que acreditan la independencia del género biográfico del historiográfico, se presentarán pasajes metodológicos sobre la estructura, el estilo y los contenidos del enarrare vitas, tratando de identificar líneas comunes y rasgos recurrentes de un género híbrido y multifacético. El análisis se centrará en elementos como el marco narrativo, la selección del material narrativo, la estructura del texto y las relaciones con el género encomiástico.The paper aims to provide interpretative notes on Latin biography as a literary genre: after a survey of the main literary sources attesting the independence of the biographical genre from the historiographical one, methodological passages on structure, style and contents of the enarrare vitas will be selected and discussed in order to highlight common features and recurring traits of such a hybrid and multiform genre. The analysis will focus on elements like narrative framework, selection of narrative material, text structure and relations with the encomiastic genr
Towards a «creative memory»: Shoah and fiction in 20th-21st century French literature
No full textWhat status should be accorded to the “truth” of fiction with respect to the memory of the concentration camps? The article takes up the debate sparked by the famous Adornian interdiction on poetry after Auschwitz, to highlight how the novel is indicated, both by some survivors of the camps (such as Antelme and Semprun), and by the writers of the post-Shoah (from Perec to Camille de Toledo), as the only way out of a form of memory that has now become almost "pathological", because it is obsessive, institutionalized and emptied of its true essence. The contemporary era, marked by new challenges, such as the Covid-19 emergency and the war in Ukraine, which have awakened dark parallels with the Shoah and new denials, manifests more than ever the need for a “creative memory” (Imre Kertész) - pacified, communitarian, renewed in the transitivity of its message -, able to tell what it was, without forgetting to give new forms to the future.
Keywords
[EN] Shoah, memory, truth, fiction, novel
Quale statuto accordare alla «verità» della finzione rispetto alla memoria dei campi di concentramento? L’articolo riprende il dibattito scatenato dalla celebre interdizione adorniana sulla poesia dopo Auschwitz, per mettere in luce come il romanzesco venga indicato, tanto da alcuni sopravvissuti ai campi (come Antelme e Semprun), quanto dagli scrittori del dopo-Shoah (da Perec a Camille de Toledo), come la sola via d’uscita da una forma di memoria divenuta ormai quasi “patologica”, perché ossessiva, istituzionalizzata e svuotata della sua vera essenza. L’epoca contemporanea, segnata dall’emergenza Covid-19 e dalla guerra in Ucraina, che hanno risvegliato paralleli oscuri con la Shoah e nuovi negazionismi, manifesta più che mai il bisogno di un passaggio ad una “memoria creativa” (Imre Kertész) – pacificata, comunitaria, rinnovata nella transitività del suo messaggio, in grado di raccontare quello che è stato, senza dimenticare di dare nuove forme al futuro.¿Qué estatuto se le debe otorgar a la "verdad" de la ficción con respecto a la memoria de los campos de concentración? El artículo retoma el debate suscitado por la famosa interdicción de Adorno sobre la poesía después de Auschwitz, para resaltar cómo la novela es señalada, tanto por algunos sobrevivientes de los campos (como Antelme y Semprun) como por escritores posteriores a la Shoah (desde Perec hasta Camille de Toledo), como única salida a una forma de memoria que ya se ha vuelto casi "patológica", porque es obsesiva, institucionalizada y vaciada de su verdadera esencia. La época contemporánea, marcada por la emergencia de la Covid-19 y la guerra de Ucrania, que han despertado oscuros paralelismos con la Shoah y nuevos negacionismos, manifiesta más que nunca la necesidad de una transición hacia una "memoria creativa" (Imre Kertész) – pacificada, comunitaria, renovada en la transitividad de su mensaje, capaz de contar lo que ha sido, sin olvidar de ofrecer nuevas formas para el futuro
The non-hegemonic in the Portuguese books of chivalry: marginal figures, non-western spaces and people and gender variants
No full textScheda di tesi di dottorato in corsoFicha de tesis doctoralAbstract of PHD thesis in progress
María Pilar Suárez, José Ramón Trujillo (coords.), «La búsqueda en el universo artúrico. De Francia a la península ibérica», San Millán de la Cogolla, Cilengua 2022
No full textReseña de: Pilar Suárez, María; y José Ramón Trujillo (coords), La búsqueda en el universo artúrico. De Francia a la península ibérica, San Millán de la Cogolla, Cilengua, 2022.Review of María Pilar Suárez, José Ramón Trujillo (coords.), La búsqueda en el universo artúrico. De Francia a la península ibérica, San Millán de la Cogolla, Cilengua, 2022.Recensione di María Pilar Suárez, José Ramón Trujillo (coords.), La búsqueda en el universo artúrico. De Francia a la península ibérica, San Millán de la Cogolla, Cilengua, 2022