Open Access Scientific Journals of the Department of Foreign Languages and Literatures of the University of Verona
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Greening the Genre: Fairy Tale, the Apocalypse, and Ecology Documentaries
No full textNew critical perspectives are required to investigate forms of creative and critical writing that produce ecological knowledge and representation, to identify stylistic and structural features that strengthen or undermine environmental communication, and to appreciate narrative modes that may inspire a change in cultural mindsets and behaviours.The relationships between modes of communication and intergenerational dynamics are essential to understanding the power of environmental news and stories. Fairy tales and fables, in which the joy of the happy ending still resonates with doubts and fears, and dystopian and apocalyptic stories, in which destruction can raise palingenetic hope, are essential to environmental communication. David Attenborough’s ecology documentaries form a new green genre that blends the fairy tale and apocalyptic dystopia and uses entertainment to produce public understanding of the ecological crisis.Who is the narrator and how is the narrative built and delivered to develop environmental advocacy? Can nature documentary TV series contribute to changing consumers’ habits? Is the role played by celebrity conservationists and conservationist celebrities essential to promoting a cultural shift? These are intriguing questions raised by ecological narratives.
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The Evolution of Virtual Identity in American Literature: From the Telegraph to the Internet. Beatrice Melodia Festa
No full textReview of The Evolution of Virtual Identity in American Literature by Beatrice Melodia Festa
A Planetary Lens: The Photo-Poetics of Western Women’s Writing. Audrey Goodman
No full textReview of A Planetary Lens by Audrey Goodman
Die Schrift als Körper des Körpers: E.T.A. Hoffmanns Lebens-Ansichten des Katers Murr
No full textRiassunto: La scrittura è il corpo del corpo. In questo modo si può definire il rapporto tra corpo e scrittura. Nel caso del romanzo di E. T. A. Hoffmann però questa definizione deve essere così precisata: la scrittura è il corpo del corpo di un gatto. E trattandosi del corpo di un gatto, questo corpo del corpo si trasforma in una scrittura felina. A rigor di logica, ciò implicherebbe una illeggibilità di questa scrittura per tutti i non-felini e quindi anche per gli esseri umani, una scrittura con il sigillo di un corpo felino. Hoffmann tuttavia crea un gatto molto particolare, persino unico nel suo genere, in cui un lato esteriore perfettamente felino si combina con un lato interiore inconfondibilmente antropomorfo. Questo lato interiore, l’anima del gatto, se così si può dire, è spinto da fortissime ambizioni poetico-filosofiche, le quali tuttavia fanno molta fatica a esternarsi in un corpo animale. Contro ogni aspettativa però, nel romanzo di Hoffmann i confini tra gatto ed essere umano sono tutt’altro che netti. Infatti, il gatto Murr possiede un corpo semiotico, che lo predispone ad una scrittura felina sapientemente messa in scena dall’autore.
Abstract: Writing is the body’s body. This is how the relationship between body and writing may be defined. In E. T. A. Hoffmann‘s novel, this relation needs to be specified as follows: writing is the body of a cat’s body, and, as such, this body’s body becomes a kind of feline writing. Strictly speaking, this would imply that this writing, being the expression of a feline’s body, is illegible to all non-feline beings and hence also to humans. Yet, Hoffmann creates a very special and unique cat, which combines its perfectly feline outward appearance with an unmistakably anthropomorphous inner dimension. This inner dimension, the cat’s soul, so to speak, is deeply moved by literary and philosophical ambitions, which nevertheless can hardly express themselves through the body of an animal. Yet, contrary to all expectations, in Hoffmann’s novel the border between cat and man is all but neatly drawn. As a matter of fact, Murr, the cat, is cunningly endowed with a semiotic body which allows a feline writing.
Parole chiave: Scrittura, corpo, semiotica, (il-)leggibilità.
Key words: Writing, Reading, Body, Semiotics, (Il-)legibility.
Scritture dell’abisso: la Symphonie fantastique di Hector Berlioz come racconto speculare
No full textRiassunto: Questo articolo si concentra sulla relazione tra programma drammatico-narrativo e musica nella Symphonie fantastique di Hector Berlioz adottando la prospettiva teorico-critica del racconto speculare, basata sul dispositivo della mise en abyme. Lontano da ogni ipotesi di ‘risoluzione’ della musica nella parola letteraria, una dimensione essenziale dell’espressione e della rappresentazione, ma anche una chiave di lettura per la celebre sinfonia berlioziana che fa dell’abisso della personalità e della creatività dell’artista romantico fuse in un tutt’uno, il suo fulcro tematico sarà individuato proprio nell’inesauribile gioco di riflessi tra musica e scrittura.
Abstract: This article focuses on the relationship between dramatic-narrative program and music in Hector Berlioz’s Symphonie fantastique by adopting the theoretical-critical perspective of the mirror story based on the device of the mise en abyme. Far from any hypothesis of a ‘resolution’ of the music through the literary word, it will be precisely in the inexhaustible play of reflections between music and writing, that an essential level of expression and representation, but also an interpretative key for this famous Symphony by Berlioz will be identified.
Parole chiave: Symphonie fantastique, sinfonia, musica a programma, Berlioz, mise en abyme, assenza.
Key words: Symphonie fantastique, Symphony, Program Music, Berlioz, Mise en abyme, Absence.
 
Racialization and Whiteness in Camara Lundestad Joof\u27s Norwegian Postmigration Works
No full textL’articolo si pone l’obiettivo di comprendere se alcuni strumenti teorici forniti dalla teoria critica della razza e della bianchezza siano applicabili al contesto norvegese. Tramite una disamina di due opere della scrittrice, drammaturga e artista teatrale Camara Lundestad Joof, nata in Norvegia da madre norvegese e padre gambiano, l’analisi intende mettere in luce i meccanismi razzializzanti di cui sono vittima le persone non-bianche nella società norvegese e le modalità in cui la bianchezza influenza la loro quotidianità.The article aims to understand whether certain theoretical tools provided by critical theories on race and whiteness are applicable to the Norwegian context. Through an examination of two works by the writer, playwright and theatre artist Camara Lundestad Joof, who was born in Norway to a Norwegian mother and a Gambian father, the analysis aims to shed light on the racializing mechanisms that non-white people in Norwegian society are subjected to, and how whiteness influences their everyday life
Deviations from the norm: Bodies and corporeality in Contemporary Literature. Introduction to the Monographic Section
No full textIntroduzione alla sezione Monografica del terzo numero di «NuBE».Introduction to the Monographic Section of the third issue of «NuBE»
Foreword
No full textThe 24th issue of Dostoevsky Studies: Fyodor Dostoevsky\u27s bicentennial and 50 years of the International Dostoevsky Society (1971-2021)
Dostoevsky and Pascal: the paradox of two abysses
No full textThere are, in Fyodor Dostoevsky’s work, evident signs of his interest in Blaise Pascal’s paradoxical thought, especially regarding the cognitive effort of the reason defeating itself, which is synthetised in Pascal’s formula désaveu de la raison and is so consonant with Dostoevsky’s spiritual research. The ‘spiritual affinity’ between the two great writers was acknowledged by Lev Shestov, Nikolaj Berdjaev, Vasilij Rozanov, Leonid Grossman. Nevertheless, there is a need for a systematic and accurate textual analysis of the numerous allusions to Pascal’s conceptual horizon, which can be individuated in some of the crucial points of Dostoevsky’s prose, especially those pertaining to the criticism of reason based on revealing its abyssal contradictory nature. In the present article, I will try to fill this gap at least partly, demonstrating how some of the French philosopher’s central ideas and especially the form of his argumentation were contemplated in depth and reframed in Dostoevsky’s creative ‘laboratory’.Keywords: Dostoevsky; Blaise Pascal; Reason; Paradox; Comparative analysi
