Versants. Revista suiza de literaturas románicas
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«Io ero un gatto». Scelte narrative e stilemi de La disdetta
Full text linkIl saggio illustra le scelte narratologiche e stilistiche de La disdetta (Einaudi, 1974), il secondo romanzo di Anna Felder, contrassegnato da un divertito sperimentalismo e dominato dalle movenze imprevedibili di un io narrante e protagonista sui generis: il gatto di casa. L’analisi – attenta alle dinamiche macrotestuali e ai fatti linguistici, anche quelli più minuti – evidenzia il trattamento antiromanzesco e poetico della materia narrativa (una casa destinata alla demolizione i cui abitanti vivono in un tempo sospeso), prestando particolare attenzione alla natura disorientante e alle accensioni espressive di una narrazione condotta per istantanee e rappresentazioni parziali, nel continuo mutamento dei piani prospettici ed enunciativi, e nella varia evocazione di scenari onirico-surreali.The essay illustrates the narratological and stylistic choices in La disdetta (Einaudi, 1974), Anna Felder’s second novel, marked by an amused experimentalism and dominated by the unpredictable movements of a sui generis narrator and protagonist: the house cat. The analysis – attentive to macro-textual dynamics and linguistic facts, even the most minute ones – highlights the anti-novelistic and poetic treatment of the narrative material (a house destined for demolition whose inhabitants live in suspended time), paying particular attention to the disorienting nature and expressive emphasis of a narrative conducted by snapshots and partial representations, in the continuous change of perspective and enunciative planes, and in the varied evocation of dreamlike-surreal scenarios
Humour, spazio, oggetti: tradurre il quotidiano poetico di Anna Felder in francese
Full text linkL’articolo si vuole un contributo in omaggio alla grande narratrice ticinese Anna Felder dal punto di vista della traduzione della sua prosa in lingua francese. Lo scopo, attraverso una riflessività sulle problematiche incontrate durante la pratica traduttiva dei suoi testi, è quello di approfondire alcuni punti salienti della sua scrittura: in particolare l’umorismo diffuso, la poesia del quotidiano e l’importanza data agli oggetti. Ciò facendo, ci è parso essenziale mostrare quanto fosse diventata nostra la lectio di Anna con cui si era creato un vero legame d’amicizia, un vero dialogo letterario, ricco e proficuo: e cioè di «accettare qualche stranezza nella lingua d’arrivo, a favore della lingua originale».The article aims to be a tribute to the great Ticinese writer Anna Felder from the perspective of the translation of her prose into French. The objective, through a reflection on the challenges encountered during the translation process of her texts, is to explore some key aspects of her writing: in particular, her pervasive humor, the poetry of everyday life, and the importance given to objects. In doing so, it seemed essential to us to show how much Anna’s lectio had become our own, fostering a true bond of friendship and a genuine, rich, and fruitful literary dialogue. That is, to «accept some strangeness in the target language in favor of the original language»
La transición como traición: Rafael Chirbes y la coherencia crítica de un testigo
Full text linkEste artículo aborda los pilares que sustentan la impugnación de la transición española que Rafael Chirbes llevó a cabo a lo largo de su trayectoria literaria. El objetivo es indagar en las diferentes aristas que adquiere en su escritura la caracterización de ese proceso como una «larga traición» que el autor inserta, además, en la tradición histórica nacional y señala desde su gestación de manera sincrónica. Llevada a cabo por una parte de la «generación bífida» del sesentayocho, desde su lectura, la transición supone una traición hacia diversos sectores sociales que van desde los derrotados de esa misma promoción hasta la generación anterior, la clase obrera o el exilio republicano.This paper intends to examine the ideas behind the rebuttal of the Spanish transition to democracy carried out by Rafael Chirbes throughout his literary career. The aim is to tackle the different aspects that the characterization of this process as a long betrayal acquires in his writing; a betrayal which the author also inserted in the national historical tradition and pointed out critically from its development. In Chirbes’ historical interpretation, the transition to democracy, exerted by a part of his generation, was a betrayal to various sectors, ranging from the defeated of the same generation to the members of the previous one, the working class or the republican exile
Cantar y callar al son de la transición
Full text linkEsta es la historia de los hermanos Labordeta, de cómo influyó el uno sobre el otro, y del impacto a su vez de ambos, el malogrado poeta de posguerra y el popular cantautor de la Transición, en la renovación de la poesía española contemporánea. Frente a la resistencia al entendimiento, al acuerdo sobre qué es, qué significan y qué no los años de la Transición (si ruptura con el pasado franquista o reforma, si pacto del olvido o Ley de Amnistía, si España vacía o España de la movida...), aquí interpreto esta prolongada crisis que atraviesa la sociedad española desde la Guerra Civil en adelante, como una crisis de la mediación; es decir, una crisis y transformación de los medios, en particular del medio de la voz, que es el primer medio que utilizan los seres humanos y con especial habilidad los poetas y cantantes para comunicarse y, si hay suerte, prosperar.This is the story of the Labordeta brothers, how one influenced the other, and how both, the unhappy post-war poet and the popular singer-songwriter of the Transition, influenced the renewal of contemporary Spanish poetry. In the face of the resistance to understanding, to agreeing on what the years of the Transition are, what they mean and what they do not mean (whether break with the Francoist past or reform, pact of forgetting or amnesty law, empty Spain or Spain of the movida...), here I interpret this long and prolonged period of the Transition as the time of the Spanish poet’s death. ), here I interpret this prolonged crisis that Spanish society has been going through since the Civil War as a crisis of mediation, that is, a crisis and transformation of the media, especially the medium of the voice, which is the first medium that human beings use and that poets and singers use with particular skill to communicate and, if we are lucky, to flourish
Lire selon Quignard : une microlecture de Terrasse à Rome
Full text linkTerrasse à Rome (2000), bref roman de Pascal Quignard, impose une lecture fragmentaire, dominée par la description, et fondée sur un mouvement associatif et pluriel. À partir d’une microlecture d’un extrait, cet article examine le statut de la lecture chez Quignard, envisagée à la fois comme geste du·de la lecteur·rice et comme motif thématique lié à l’errance. L’écriture discontinue et mouvante du texte implique un pacte de lecture adapté aux exigences de cette errance scripturale et invite à relever les défis posés par une écriture elliptique qui suggère plus qu’elle n’explique. C’est seulement en lisant en quignardien qu’il devient possible de jouir des plaisirs de l’errance et de relier entre eux les motifs du texte en renouvelant le paradigme habituel de lecture.Terrasse à Rome (2000), a short novel by Pascal Quignard, demands a fragmentary mode of reading, one dominated by description and guided by associative, multifaceted movements. Through a close reading of a passage, this article explores the role of reading in Quignard’s work both as a readerly gesture and as a recurring thematic motif linked to errancy. The novel’s discontinuous and shifting prose calls for a reading pact attuned to the demands of scriptural wandering, challenging the reader with elliptical writing that suggests more than it explains. Only by embracing a “Quignardian” mode of reading can one fully enjoy the pleasures of wandering and connect the motifs of the text, thereby renewing the conventional paradigm of reading
I paesaggi sonori di Anna Felder
Full text linkQuesto studio propone un esame dei paesaggi sonori nelle opere di Anna Felder. Si parte da un’analisi “acustica” di Tra dove piove e non piove, romanzo in cui i suoni sono parte integrante del mondo narrato e appartengono al nucleo tematico, soprattutto qualora riferiti alla sonorità delle lingue parlate dai personaggi. Da qui, lo studio si estende alle altre opere letterarie di Felder, compresi i radiodrammi presenti negli archivi della RSI. Attraverso un’analisi formale e semantica che fa luce sulle modalità, sugli effetti e sui significati con cui si articola la dimensione sonora nelle opere, la ricerca intende far emergere in quali modi essa sia presente nella poetica autoriale di Anna Felder.This study examines the soundscapes in the works of Anna Felder. It begins with an “acoustic” analysis of Tra dove piove e non piove, a novel in which sounds constitute an integral part of the narrated world and are central to the thematic core, particularly in relation to the sound of the languages spoken by the characters. From this point, the study extends to Felder’s other literary works, including the radio dramas preserved in the RSI archives. Through a formal and semantic analysis that explores the modalities, effects, and meanings of the auditory dimension in these works, this research aims to highlight the ways in which sound is embedded in Anna Felder’s authorial poetics
La forja de los héroes: notas en torno a La transición (Victoria Prego y Elías Andrés, TVE, 1995)
Full text linkEl texto efectúa una panorámica del relato cultural de la transición española, a partir de La transición (1995), serie documental escrita por Victoria Prego y Elías Andrés. Describe el proceso de reforma democrática como una narrativa épica, centrada en el rey Juan Carlos I, retratado como el héroe que lideró el paso de la dictadura a la democracia; a través de materiales audiovisuales y entrevistas, La transición edificó una visión idealizada de otros pilares de la modernidad española, como el primer presidente de la democracia, Adolfo Suárez. Pese a ello, en el momento actual se cuestiona esta narrativa ante los recientes escándalos que erosionan la legitimidad de la Corona y las tensiones en torno a la memoria histórica, el modelo de Estado y los retos democráticos frente al auge de movimientos populistas y nostálgicos del franquismo.The text offers an overview of the cultural narrative of Spanish Transition, based on La transición (1995), a documentary series written by Victoria Prego and Elías Andrés. It frames the democratic reform process as an epic narrative, with King Juan Carlos I portrayed as the central hero who guided the shift from dictatorship to democracy. Drawing on audiovisual materials and interviews, La transición crafted an idealized representation of other central figures in the development of modern Spain, including the first democratic president, Adolfo Suárez. Nevertheless, this story is currently being questioned in light of recent scandals that undermine the legitimacy of the Crown, as well as ongoing tensions regarding historical memory, the State model, and democratic challenges amid the rise of populist movements and nostalgia for Francoism
El trauma negado: el relato lírico de los niños de la Guerra durante la Transición
Full text linkEste artículo investiga el relato lírico que los poetas que pertenecen a la generación de los niños de la guerra publicaron durante la Transición. Este corpus, desatendido por la historia de la literatura, ofrece un testimonio temprano sobre las consecuencias traumáticas de haber vivido la guerra y la Dictadura como niños y jóvenes adultos, y sobre el silencio que impone la Transición hacia este trágico pasado histórico. Teóricamente este trabajo se apoya en los Estudios de la Memoria y los Estudios del Trauma.This article examines the lyricism of poets from the generation of the children of the war in poems published during the Spanish transition to democracy. This corpus, which has been neglected by literary historians, offers an early testimony to the traumatic consequences of living through war and dictatorship as children and young adults, and to the silence imposed by the transition on this tragic historical past. This work is theoretically based on memory studies and trauma studies
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