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Cloni in rivolta. La hybris della ripetizione in Storie naturali di Primo Levi e Moon di Duncan Jones
Full text linkQuesto articolo si concentra sulla comparazione fra due opere di fantascienza: i racconti di Primo Levi “L’ordine a buon mercato” e “Alcune applicazioni del Mimete” – raccolti in Storie Naturali (1966) –, e il film Moon (2009) del regista inglese Duncan Jones. Questi due scenari fantascientifici, sebbene differenti per stile e intreccio narrativo, si rivelano sorprendentemente affini nel rappresentare la schiavizzazione e la strumentalizzazione dell’umano, ridotto a prodotto duplicabile, utilizzabile e sostituibile nell’epoca contemporanea delle macchine. La scrittura letteraria di Levi e quella cinematografica di Jones propongono una riflessione etico-politica sia sulle responsabilità della tecno-scienza, che sulle conseguenze dei processi tecnologici. Questo lavoro illumina l’analogo impegno di questi due ‘scenari della duplicazione umana’ nell’osservare il crinale imprevedibile della clonazione, in cui la dialettica fra identità e differenza produce una svolta drammatica che ha la sua origine in una certa hybris (trasgressione) della ripetizione.My article compares two sci-fi works: Primo Levi’s short stories “L’ordine a buon mercato” and “Alcune applicazioni del Mimete” – collected in Storie Naturali (1966) – and the film Moon (2009) by the British director Duncan Jones. These two science fiction scenarios, though different in style and narrative plot, are remarkably similar in depicting the enslavement and instrumentalization of human beings, reduced to duplicable, usable and replaceable products in the contemporary machine age. Levi\u27s literary writing and Jones\u27 film suggest an ethical-political reflection on both the responsibilities of techno-science and the consequences of the technological process. This article highlights the similar engagement of these two “scenarios of human duplication” in examining the unpredictable ridge of cloning, in which the dialectic between identity and difference produces a dramatic turn that originates in a certain hybris (transgression) of repetition
Post-apocalyptic Subjectivity and Nature/Culture Duality in Lois Lowry’s The Giver
Full text linkThe present inquiry endeavors to scrutinize the process of identity formation with regard to the Culture/Nature dichotomy within the milieu of Lois Lowry\u27s post-apocalyptic dystopian narrative, The Giver. The antipodal forces of Culture and Nature are instrumental in shaping the social subjectivities of individuals. Lowry\u27s post-apocalyptic dystopia portrays a society in which these antitheses are comprehensively epitomized. Our objective is to explicate the genesis of post-apocalyptic identities and to elucidate the representation of Nature/Culture within the social context of the aforementioned literary work. Furthermore, the polarity between power and resistance, which is of notable import to cultural studies, is nonexistent within this post-apocalyptic dystopia. Consequently, the establishment of identities transpires not at the site of contention between power and resistance, but exclusively through the ascendency of the imperializing power. As a corollary, the elimination of the recollections of those individuals who are unable to oppose the imperializing power is integral to the construction of homogeneous identities
Édouard Glissant e Salman Rushdie. Pensare il mondo, scrivere il mondo
Full text linkIn this article we want to inquire and to compare the modalities through which Édouard Glissant and Salman Rushdie think and represent the world in their works. At first, we will study the two authors’ intellectual journeys. They are both characterized by the research of a “third space” in the transnational literary camp, free from the center-periphery dichotomy. Then we will place and contextualize their reflections in the debate on World Literature and Littérature-monde. Finally, we will compare their conceptions of realism, both characterized by a close relationship between the transcultural local (India and Antilles) and the creolized tout-monde.Il presente articolo intende indagare e comparare le modalità attraverso le quali Édouard Glissant e Salman Rushdie pensano e rappresentano la mondialità nelle proprie opere. In un primo momento verranno analizzati i percorsi intellettuali dei due autori, caratterizzati dalla ricerca di un “terzo-spazio” (oltre la dicotomia centro-periferia) all’interno del campo transnazionale della letteratura. In seguito, si inseriranno le loro riflessioni teoriche nel più ampio dibattito su World Literature e Littérature-monde. Infine, compareremo le loro concezioni del realismo, caratterizzate da uno stretto legame tra il locale transculturale (India e Antille) e il tout-monde creolizzato
Review of Wolf Schmid, Figurally Colored Narration. Case Studies from English, German, and Russian Literature (De Gruyter, 2022)
Full text linkReview of Wolf Schmid, Figurally Colored Narration. Case Studies from English, German, and Russian Literature (De Gruyter, 2022).Review of Wolf Schmid, Figurally Colored Narration. Case Studies from English, German, and Russian Literature (De Gruyter, 2022)
Conjurando fantasmas: El conde Partinuplés y ‘Las gracias mohosas’ entre traducción y refundición
Full text linkAmong the ‘authorizing’ processes of women playwrights and plays that are still considered \u27minor\u27, translations and adaptations represent virtuous manipulations capable of undermining and renewing the system of values that establish the instances of canonicity. This article aims to explore some contemporary reverberations of Ana Caro\u27s comedy El conde Partinuplés (1653) and the first two prose interludes of the Tragicomedia de los jardines y campos sabeos (1624-1628) by Feliciana Enríquez de Guzmán. Specifically, the pages that follow will explore the \u27double\u27 process of rewriting realized by translator and playwright Harley Erdman who, if on the one hand translated the aforementioned plays into English, including them in the volume Women Playwrights of Early Modern Spain (2016), on the other hand merged and adapted them in an original ‘refundición’ entitled Suitors (2013).Among the ‘authorizing’ processes of women playwrights and plays that are still considered \u27minor\u27, translations and adaptations represent virtuous manipulations capable of undermining and renewing the system of values that establish the instances of canonicity. This article aims to explore some contemporary reverberations of Ana Caro\u27s comedy El conde Partinuplés (1653) and the first two prose interludes of the Tragicomedia de los jardines y campos sabeos (1624-1628) by Feliciana Enríquez de Guzmán. Specifically, the pages that follow will explore the \u27double\u27 process of rewriting realized by translator and playwright Harley Erdman who, if on the one hand translated the aforementioned plays into English, including them in the volume Women Playwrights of Early Modern Spain (2016), on the other hand merged and adapted them in an original ‘refundición’ entitled Suitors (2013).Among the ‘authorizing’ processes of women playwrights and plays that are still considered \u27minor\u27, translations and adaptations represent virtuous manipulations capable of undermining and renewing the system of values that establish the instances of canonicity. This article aims to explore some contemporary reverberations of Ana Caro\u27s comedy El conde Partinuplés (1653) and the first two prose interludes of the Tragicomedia de los jardines y campos sabeos (1624-1628) by Feliciana Enríquez de Guzmán. Specifically, the pages that follow will explore the \u27double\u27 process of rewriting realized by translator and playwright Harley Erdman who, if on the one hand translated the aforementioned plays into English, including them in the volume Women Playwrights of Early Modern Spain (2016), on the other hand merged and adapted them in an original ‘refundición’ entitled Suitors (2013).Entre los procesos de ‘autorización’ de dramaturgas y obras que aún se consideran ‘menores’, las traducciones y las adaptaciones representan manipulaciones virtuosas capaces de socavar y renovar el sistema de valores que determinan las instancias de canonicidad. El presente artículo se propone explorar algunas derivas contemporáneas de la comedia El conde Partinuplés (1653) de Ana Caro y los dos primeros entreactos en prosa de la Tragicomedia de los jardines y campos sabeos (1624-1628) de Feliciana Enríquez de Guzmán. En concreto, se explorará el ‘doble’ proceso de reescritura realizada por el traductor y dramaturgo Harley Erdman quien, si por una parte tradujo las mencionadas obras al inglés, incluyéndolas en el volumen Women Playwrights of Early Modern Spain (2016), por otra las adaptó, fusionándolas, en una original ‘refundición’ titulada Suitors (2013).Among the ‘authorizing’ processes of women playwrights and plays that are still considered \u27minor\u27, translations and adaptations represent virtuous manipulations capable of undermining and renewing the system of values that establish the instances of canonicity. This article aims to explore some contemporary reverberations of Ana Caro\u27s comedy El conde Partinuplés (1653) and the first two prose interludes of the Tragicomedia de los jardines y campos sabeos (1624-1628) by Feliciana Enríquez de Guzmán. Specifically, the pages that follow will explore the \u27double\u27 process of rewriting realized by translator and playwright Harley Erdman who, if on the one hand translated the aforementioned plays into English, including them in the volume Women Playwrights of Early Modern Spain (2016), on the other hand merged and adapted them in an original ‘refundición’ entitled Suitors (2013)
La traducción inglesa de un romance de Luisa de Carvajal a finales del siglo xix
Full text linkuisa de Carvajal (1566–1614), a Spanish mystic and Catholic missionary, wrote around 50 spiritual poems. This paper examines the English translation of one of them, the ballad “En una graciosa isleta”, text chosen by Georgiana Fullerton to bring closure to her Life of Luisa de Carvajal (1873). This biography, based on a previous one by Luis Muñoz, published in 1632, presents the poet’s life as an example of sacrifice in the context of the reformist persecutions of Catholics. The translated poem is examined from two perspectives: firstly, an inquiry into the motivations and publishing circumstances around the translation of the text in the second half of the 19th century; secondly, an internal text analysis of the versification and rhetorical devices conveying Carvajal’s mystical vision. Mística y misionera católica española en Inglaterra, Luisa de Carvajal (1566–1614) legó una cincuentena de poemas espirituales. Este artículo examina la traducción al inglés de uno de ellos, el romance «En una graciosa isleta», texto con el que Georgiana Fullerton concluye su Life of Luisa de Carvajal (1873). Esta biografía, basada en otra escrita por Luis Muñoz en 1632, presenta la vida de la poeta como ejemplo de sacrificio en el contexto de las persecuciones a los contrarreformistas. El estudio del poema traducido se aborda principalmente desde dos ópticas: por un lado, una indagación en las motivaciones y circunstancias editoriales que pudieron rodear la traducción del texto a finales del siglo xix; por el otro, un análisis microtextual del tratamiento de la versificación y los recursos retóricos en que se plasma la visión mística de Carvajal.Luisa de Carvajal (1566–1614), Spanish mystic and Catholic missionary, wrote around 50 spiritual poems. This paper examines the English translation of one of them, the ballad “En una Graciosa isleta”, text chosen by Georgiana Fullerton to bring closure to her Life of Luisa de Carvajal (1873). This biography, based on a previous one by Luis Muñoz, published in 1632, presents the poet’s life as an example of sacrifice in the context of the reformist persecutions of Catholics. The translated poem is examined from two perspectives: firstly, an inquiry into the motivations and publishing circumstances around the translation of the text in the second half of the 19th century; secondly, an internal text analysis of the versification and rhetorical devices conveying Carvajal mystical vision.uisa de Carvajal (1566–1614), a Spanish mystic and Catholic missionary, wrote around 50 spiritual poems. This paper examines the English translation of one of them, the ballad “En una graciosa isleta”, text chosen by Georgiana Fullerton to bring closure to her Life of Luisa de Carvajal (1873). This biography, based on a previous one by Luis Muñoz, published in 1632, presents the poet’s life as an example of sacrifice in the context of the reformist persecutions of Catholics. The translated poem is examined from two perspectives: firstly, an inquiry into the motivations and publishing circumstances around the translation of the text in the second half of the 19th century; secondly, an internal text analysis of the versification and rhetorical devices conveying Carvajal’s mystical vision. Mística y misionera católica española en Inglaterra, Luisa de Carvajal (1566–1614) legó una cincuentena de poemas espirituales. Este artículo examina la traducción al inglés de uno de ellos, el romance «En una graciosa isleta», texto con el que Georgiana Fullerton concluye su Life of Luisa de Carvajal (1873). Esta biografía, basada en otra escrita por Luis Muñoz en 1632, presenta la vida de la poeta como ejemplo de sacrificio en el contexto de las persecuciones a los contrarreformistas. El estudio del poema traducido se aborda principalmente desde dos ópticas: por un lado, una indagación en las motivaciones y circunstancias editoriales que pudieron rodear la traducción del texto a finales del siglo xix; por el otro, un análisis microtextual del tratamiento de la versificación y los recursos retóricos en que se plasma la visión mística de Carvajal.
I modi della Twitter fiction
Full text linkFin dalla sua nascita nei primi anni del XXI secolo, il social network Twitter è stato sede di interessanti sperimentazioni narrative legate in particolare alla forma breve in ambito digitale. Muovendo da una mappatura di queste pratiche di Twitteratura, inquadrabili soprattutto come microracconti, forme di riscrittura ludica o di creazione condivisa, l’articolo si concentra su tre casi di Twitter fiction – Black Box (2012) di Jennifer Egan, Evidence: Story of a Crime (2012) di Eliott Holt e Hafiz (2014) di Teju Cole –, per evidenziare come simili esempi esplicitino in varia misura sperimentazioni condotte guardando a una specificità mediale che oltrepassa il semplice vincolo della brevità. Così facendo, questi testi presentano un atteggiamento critico nei confronti del mezzo di cui si avvalgono e si configurano come emblematici di un processo di riflessione che dal semplice piano della condivisione chiama in causa uno spazio di riflessione sulle possibilità e i modi stessi della Twitter fiction.Since its very foundation, the microblogging social Twitter has been the venue of some important narrative experimentations with the short-story form. Moving from the mapping of such practices of Twitterature, classified mainly as playful rewriting experiences or collective creations, this article then focuses on three works of Twitter fiction—Jennifer Egan’s Black Box (2012), Eliott Holt’s Evidence: Story of a Crime (2012) and Teju Cole’s Hafiz (2014)—in order to show how these examples may be regarded as dealing more with a medium specificity that goes beyond the simple constraint of brevity. As such, similar examples deploy a reflexive attitude towards the digital medium and its conditions and epitomize a manner of critical engagement with the very possibilities and modalities of the Twitter fiction itself
Odio di forma e di sostanza: la villainization della rete in The Circle di Dave Eggers e No One Is Talking About This di Patricia Lockwood
Full text linkThis paper examines the Internet’s negative characterization in contemporary literature. In the first part I discuss how often contemporary writers choose to ignore the Internet and its effects upon society in their works of fiction. In the second part I focus on two novels, The Circle and No One Is Talking About This, that put the Internet at the center of their stories in order to criticize it.Il presente articolo si propone di analizzare la caratterizzazione essenzialmente negativa che la rete subisce nella letteratura contemporanea. Nella prima parte si discute la tendenza a ignorare Internet e i suoi effetti sulla società. Nella seconda parte ci si concentra su due romanzi, The Circle e No One Is Talking About This, che invece mettono Internet al centro delle propri storie, per criticarlo
Internet e letteratura: la fine di un idillio?
Full text linkThe influence of new information technologies on creation and literary practice, as well as the evolutions and changes in the ways of communication and production of the works, lead to an analysis of the large laboratory which is the web and the relationship it has with literature. Today, after more than twenty years, this relationship seems to enter a more institutionalized phase, in which enthusiasm gives way to more prudent positions, even from integrated authors. For this reason, the purpose of this reflection is the analysis of the insight that some authors bring to the network and of the socio-cultural dynamics to which it gives life. Starting from the reflection by the collective Wu Ming on the blog Giap and examining Panorama by Tommaso Pincio and Anteprima Mondiale by Aldo Nove, we will try to grasp the transformations and to give light to the critics towards the network and its communication practices in contemporary society.L’influenza esercitata dalle nuove tecnologie dell’informazione sulla creazione e sulla pratica letteraria, così come le evoluzioni e i mutamenti dei modi di comunicazione e di produzione delle opere, conducono ad analizzare il grande laboratorio che è il web e il rapporto che esso intrattiene con la letteratura. Dopo più di vent’anni, questa relazione sembra entrare in una fase più istituzionalizzata, in cui l’entusiasmo lascia il posto a posizioni più prudenti, anche da parte di autori integrati. Per tale ragione, lo scopo di questa riflessione è l’analisi dello sguardo che alcuni autori portano sulla rete e sulle dinamiche socio-culturali a cui dà vita. Partendo dalla riflessione condotta dal collettivo Wu Ming sul blog Giap e prendendo in esame Panorama di Tommaso Pincio e Anteprima Mondiale di Aldo Nove, si cercherà di analizzare le trasformazioni prodotte nel campo socio-letterario dall’uso delle nuove tecnologie e di capire le critiche mosse alla mediasfera e alle sue pratiche comunicative nella società contemporanea
Primo Levi’s Science Fiction’s Complex Estrangement: Variations in Scale in “Una stella tranquilla” and “Visto di lontano”
Full text linkMany of Primo Levi’s science-fiction stories crucially rely on playing with perspectives (juxtaposed, reversed, unnaturally reduced). A specific form of manipulation of perspective is offered by variations in scale. Through the narratological analysis of two science-fiction short stories – “Una stella tranquilla” and “Visto di lontano” –, this article explores the reading effects achieved by Levi by exploiting the notion of scale. It also considers how the tension between familiarity and estrangement, variously implemented, may shape views of reality and of our relationship with it. More specifically, it is suggested that playing with scale, while aiming to defamiliarize representation on the one hand, on the other it also points to the existence of deep correspondences between its various levels. The article also investigates how the role of experience, irreducibly embodied (that is to say, rooted in and developed through an undeniably human body), interacts with the management of variations in scale and estrangement effects.Molti racconti fantascientifici di Primo Levi si basano su giochi di prospettive – contrapposte, rovesciate, innaturalmente ristrette. Una particolare forma di manipolazione prospettica è offerta dalle variazioni di scala. Attraverso l’analisi narratologica di due racconti fantascientifici, “Una stella tranquilla” e “Visto di lontano”, l’articolo esplora gli effetti ottenuti da Levi attraverso lo sfruttamento del concetto di scala, e riflette sulla visione di realtà e del nostro rapporto con essa che la tensione, variamente articolata, tra familiarità e straniamento contribuisce a costruire. In particolare viene suggerito che i giochi di scala non abbiano solo lo scopo di defamiliarizzare una rappresentazione, ma che provino allo stesso tempo a suggerire l’esistenza di profonde corrispondenze tra i diversi livelli. L’articolo indaga inoltre come il ruolo dell’esperienza, innegabilmente embodied (ossia radicata nel fatto di svilupparsi e realizzarsi attraverso un corpo dalla fisiologia e percezioni peculiarmente umane), interviene rispetto alla gestione delle variazioni di scala e degli effetti di straniamento