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Un «tipo nuovo di mediazione» tra pubblico e classici: Calvino e la riscrittura dell’Orlando Furioso
Full text linkWhen Orlando Furioso di Ludovico Ariosto raccontato da Italo Calvino was published in 1970, it was presented as a «reading guide». This contribution aims to leave behind this definition and to prove not only that Calvino’s rewriting of Orlando Furioso is an independent literary work – although born in function of Ariosto’s epic poem –, but also that this consideration is the key issue to understand its success as a divulgation tool. Calvino and Einaudi found in the rewriting of the epic poem by a contemporary author a «new kind of mediation» between the public and the classics: an original narrative in dialogue with Ariosto’s work, that refused to adopt a pedagogical attitude towards readers. The analysis of the word will be conducted through the reconstruction of its genesis, the observations on style and rewriting techniques, the focus on its bond with contemporary Calvino’s production, especially the one about Ariosto.Orlando Furioso di Ludovico Ariosto raccontato da Italo Calvino, quando fu pubblicato nel 1970, fu presentato come una «guida alla lettura» del poema. Il presente contributo si propone di superare questa etichetta e di dimostrare non solo che la riscrittura calviniana dell’Orlando Furioso, sebbene nata in funzione del poema di Ariosto, è un’opera letteraria autonoma, ma anche che tale considerazione è la chiave per comprenderne il successo quale strumento di divulgazione. Calvino e la casa editrice Einaudi identificarono nella riscrittura da parte di un autore contemporaneo un «tipo nuovo di mediazione» tra pubblico e classici: una narrazione originale, senza attitudine pedagogica verso i lettori, in dialogo con il poema di Ariosto. L’analisi dell’opera sarà condotta attraverso la ricostruzione della sua genesi, le osservazioni sullo stile e le modalità di riscrittura, la disamina delle relazioni del testo con la produzione calviniana coeva, in particolare quella di argomento ariostesco
Primo Levi and the Terrestrial Condition
Full text linkIn his stories, Primo Levi presents contrasting planetary visions of Earth: one depicting it as an expanding technosphere made of entangled beings, and the other as a world of disparities impacted by the agency of a mutated humanity. But Levi\u27s ideas of planet do not solely advocate for a utopian cosmopolitanism of all living beings; he critically probes the tension between technology\u27s promises in industrialized societies and the worldview that sees Earth merely as an exploitable resource. Moreover, his stories emphasize the divisions and the contradictions created by the planetarization of the logic of industrial modernity. This essay analyzes selected short stories from Vizio di forma, seeking to unpack Levi\u27s intricate engagements with planetary concepts and the emergent idea of a terrestrial condition. Central to this exploration is how Levi\u27s planetary vision reflects the inherent tensions between the individual and the collective, and between different scales and ways of existing
Letteratura&rete. La parola agli scrittori elettronici
Full text linkThe article reports, partially reworks, often annotates, the answers by eleven ‘electronic writers’ to questions related to Literature&Internet. The article does not intend to define a phenomenon, such as that of ‘electronic literature’, that is broad, heterogeneous, complex and mutant by definition, but it rather tries to testify along (but also among and beyond) the way, the divergent/converging paths and the opinions of those who has been trying to ‘make’ electronic literature ‘inside the net’ for the past thirty-five years. Between the faults/faille of these not-sewn-properly fragments, flashes of a context leak out, in which literature fai(l/nt)s, going beyond the representation (of the spectacle of meaning) to become the (occult) scenario of unexpected events. In the absurdist laboratory of this literature finally willing to play of/in itself, the threads of the net are made and unmade; a net that does not catch nor contains; a net of (making) doing and not (only) of saying.L’articolo riporta, in parte rielabora, spesso commenta, le risposte di undici ‘scrittori elettronici’ a domande relative a letteratura&rete. L’articolo non si propone tanto di definire un fenomeno, come quello della ‘letteratura elettronica’, per definizione ampio, eterogeneo, complesso e mutante, quanto di testimoniare strada facendo, ma anche tacendo, i divergenti/convergenti percorsi e le opinioni di chi, in questi ultimi trentacinque anni, ha provato a ‘fare’ letteratura elettronica ‘dentro la rete’. Tra le faglie di questi frammenti non cuciti a dovere trapelano bagliori di un contesto in cui la letteratura sublima se stessa, andando oltre la rappresentazione (dello spettacolo del senso) per farsi scenario (occulto) di eventi inaspettati. Nel laboratorio assurdista di questa letteratura finalmente disposta a farsi gioco di/in sé, i fili della rete vengono fatti e disfatti: una rete che non pesca e non contiene; una rete del (far) fare e non (solo) del dire
“Hombres necios que acusáis a la mujer sin razón…” / “In difesa delle donne”. El manifiesto “feminista” de Sor Juana Inés de la Cruz traducido al italiano
Full text linkIn 1949 the florentine publishing house Sansoni published an anthology under the title “Orfeo: il Tesoro della lirica universale” which includes lyrics translated from more than thirty languages and throughout the centuries, beginning with the origins (III millennium BC, with the Babylonian poem Enuma Eliš), until reaching the modern age, passing through all periods and literary currents. With a disseminating and ecumenical desire and considering translation a necessity, this collection has thousands of texts translated into Italian.
With regard to literature in the Spanish language, many hitherto unpublished versions are presented, with an important segment dedicated to works written by women and translated into Italian: In difesa delle donne —by Piero Raimondi— is the translation of Hombres necios que acusáis a la mujer sin razón… by Sor Juana Inés de la Cruz (1648-1695), a redondilla that opens the way to a series of topics that are still current, such as those related to the question of women in society and their relationship with power male.En 1949 la editorial florentina Sansoni publica una antología bajo el título de Orfeo: il tesoro della lirica universale, que acoge poemas traducidos de más de treinta idiomas y a lo largo de los siglos, empezando por los orígenes (iii milenio a. C., con el poema babilónico Enuma Eliš), hasta llegar a la edad moderna, pasando por todas las épocas y corrientes literarias. Con voluntad divulgadora y afán ecuménico, y considerando la traducción una necesidad, esta recopilación cuenta con miles de textos traducidos al italiano. Por lo que atañe a la literatura en lengua española, se presentan muchas versiones hasta esa fecha inéditas, con un importante segmento dedicado a obras escritas por mujeres y traducidas al italiano: “In difesa delle donne” —por Piero Raimondi— es la traducción de “Hombres necios que acusáis a la mujer sin razón…” de Sor Juana Inés de la Cruz (1648-1695), redondilla que abre paso a una serie de temas aún actuales, como los relativos a la cuestión de la mujer en la sociedad y su relación con el poder masculino. En 1949 la editorial florentina Sansoni publica una antología bajo el título de Orfeo: il tesoro della lirica universale, que acoge poemas traducidos de más de treinta idiomas y a lo largo de los siglos, empezando por los orígenes (iii milenio a. C., con el poema babilónico Enuma Eliš), hasta llegar a la edad moderna, pasando por todas las épocas y corrientes literarias. Con voluntad divulgadora y afán ecuménico, y considerando la traducción una necesidad, esta recopilación cuenta con miles de textos traducidos al italiano. Por lo que atañe a la literatura en lengua española, se presentan muchas versiones hasta esa fecha inéditas, con un importante segmento dedicado a obras escritas por mujeres y traducidas al italiano: “In difesa delle donne” —por Piero Raimondi— es la traducción de “Hombres necios que acusáis a la mujer sin razón…” de Sor Juana Inés de la Cruz (1648-1695), redondilla que abre paso a una serie de temas aún actuales, como los relativos a la cuestión de la mujer en la sociedad y su relación con el poder masculino. En 1949 la editorial florentina Sansoni publica una antología bajo el título de “Orfeo: il tesoro della lirica universale” que acoge líricas traducidas de más de treinta idiomas y a lo largo de los siglos, empezando por los orígenes (III milenio a. C., con el poema babilónico Enuma Eliš), hasta llegar a la edad moderna, pasando por todas las épocas y las corrientes literarias. Con voluntad divulgadora y afán ecuménico y considerando la traducción una necesidad, esta recopilación cuenta con miles de textos traducidos al italiano.
Por lo que atañe a la literatura en lengua española, se presentan muchas versiones hasta esa fecha inéditas, con un importante segmento dedicado a obras escritas por mujeres y traducidas al italiano: In difesa delle donne —por Piero Raimondi— es la traducción de Hombres necios que acusáis a la mujer sin razón… de Sor Juana Inés de la Cruz (1648-1695), redondilla que abre paso a una serie de temas aún actuales como los relativos a la cuestión de la mujer en la sociedad y su relación con el poder masculino.En 1949 la editorial florentina Sansoni publica una antología bajo el título de Orfeo: il tesoro della lirica universale, que acoge poemas traducidos de más de treinta idiomas y a lo largo de los siglos, empezando por los orígenes (iii milenio a. C., con el poema babilónico Enuma Eliš), hasta llegar a la edad moderna, pasando por todas las épocas y corrientes literarias. Con voluntad divulgadora y afán ecuménico, y considerando la traducción una necesidad, esta recopilación cuenta con miles de textos traducidos al italiano. Por lo que atañe a la literatura en lengua española, se presentan muchas versiones hasta esa fecha inéditas, con un importante segmento dedicado a obras escritas por mujeres y traducidas al italiano: “In difesa delle donne” —por Piero Raimondi— es la traducción de “Hombres necios que acusáis a la mujer sin razón…” de Sor Juana Inés de la Cruz (1648-1695), redondilla que abre paso a una serie de temas aún actuales, como los relativos a la cuestión de la mujer en la sociedad y su relación con el poder masculino.
Recensione di Cecilia Schwartz, La letteratura italiana in Svezia. Autori, editori, lettori (1870-2020) (Carocci, 2021)
Full text linkReview of Cecilia Schwartz, La letteratura italiana in Svezia. Autori, editori, lettori (1870-2020) (Carocci, 2021).Recensione di Cecilia Schwartz, La letteratura italiana in Svezia. Autori, editori, lettori (1870-2020) (Carocci, 2021
L’espansione transmediale quale forma di narrazione egemone della cultura convergente
Full text linkThis essay aims to investigate how narration has exploited its adaptive capacity within the convergent culture in relation to television seriality. In particular, it now seems that cultural products are profoundly transmedia. In this light narratives in this era have become more rapid and multifaceted so that each text has a certain number of paratexts. Narration of contemporaneity works on the expansion of storytelling through different media, which extend the original franchise in different ways. This essay takes into account through a series of paratexts the fact that the transmedia and cross-media extensions of a franchise become a new form of narrative typical of the contemporary world, which adds understanding to the original product.Questo intervento ha lo scopo di indagare come la narrazione abbia sfruttato la sua capacità adattiva all’interno della cultura convergente in relazione alla serialità televisiva. In particolare, sembra ormai che i prodotti culturali siano per loro stessa natura profondamente transmediali, nel senso che le narrazioni odierne sono diventate più rapide e multiformi al punto che ogni testo ha un certo numero di paratesti mittelliani. In questo senso, la narrazione della contemporaneità lavora sull’ampliamento dello storytelling attraverso media differenti, che, con le loro specificità, contribuiscono all’estensione del prodotto nei modi che gli sono propri. Questo contributo intende riflettere, anche attraverso una serie di esempi paratestuali, sul fatto che le estensioni transmediali e crossmediali di un determinato prodotto divengono una nuova forma di narrazione tipica della contemporaneità, che aggiunge comprensione e profondità al prodotto originario
Eugenics and Reproductive Technologies in Primo Levi’s Science Fiction: The Importance of the British Interwar Debate
Full text linkThis article examines Levi’s treatment of eugenics in “I sintetici” and “Procacciatori d’affari” from Vizio di forma. The study builds upon Francesco Cassata’s analysis, which established that Levi held complex and conflicting views on the topic. These views mirrored his strong belief in avoiding limitations on scientific research while also revealing his ethical concerns. To further understand this predicament, the study reads Levi’s stories against the debate on eugenics that took place in England in the 1920s-1930. This debate engaged scientists and writers who significantly influenced Levi beyond this subject, including the Huxley brothers and Bertrand Russell. In this intellectual milieu, science fiction emerged as a favoured genre for exploring the intricate facets of eugenics and its ethical ramifications. By undertaking a comparative analysis between these antecedents and Vizio di forma, this study investigates how and why Levi turned to science fiction to articulate his conflicting thoughts on eugenics.This article examines Levi’s treatment of eugenics in “I sintetici” and “Procacciatori d’affari” from Vizio di forma. The study builds upon Francesco Cassata’s analysis, which established that Levi held complex and conflicting views on the topic. These views mirrored his strong belief in avoiding limitations on scientific research while also revealing his ethical concerns. To further understand this predicament, the study reads Levi’s stories against the debate on eugenics that took place in England in the 1920s-1930. This debate engaged scientists and writers who significantly influenced Levi beyond this subject, including the Huxley brothers and Bertrand Russell. In this intellectual milieu, science fiction emerged as a favoured genre for exploring the intricate facets of eugenics and its ethical ramifications. By undertaking a comparative analysis between these antecedents and Vizio di forma, this study investigates how and why Levi turned to science fiction to articulate his conflicting thoughts on eugenics
Locked in or locked out, or ‘la vita delle cose’: Gender, agency and (dis)embodiment in Primo Levi and Nicoletta Vallorani’s Speculative Fiction
Full text linkMany of Levi’s speculative stories narrate dystopian scenarios in which individuals express anxiety about the creeping power of technology which is reifying and automating their posthuman bodies, affecting their physical and psychological freedoms. This article develops previous scholarship with a specific focus on the gendered dimension of Levi’s writing. I show how he critiques the problematic ways in which technologisation impacts specifically on women’s bodies. With a view to tracing the contemporary echoes of Levi’s work, I place his stories in dialogue with Nicoletta Vallorani’s recent, more explicitly feminist novels. I argue that Vallorani’s writing echoes and develops many of Levi’s concerns about how technology can be employed to constrain our bodies and consciousness, and the explicitly gendered dimensions of this oppression. A critical reading of these texts alongside one another reveals striking resonances and confirms how Levi’s intuitions regarding the importance of critiquing unfettered technologised embodiment remain urgently relevant today.Many of Levi’s speculative stories narrate dystopian scenarios in which individuals express anxiety about the creeping power of technology which is reifying and automating their posthuman bodies, affecting their physical and psychological freedoms. This article develops previous scholarship with a specific focus on the gendered dimension of Levi’s writing. I show how he critiques the problematic ways in which technologisation impacts specifically on women’s bodies. With a view to tracing the contemporary echoes of Levi’s work, I place his stories in dialogue with Nicoletta Vallorani’s recent, more explicitly feminist novels. I argue that Vallorani’s writing echoes and develops many of Levi’s concerns about how technology can be employed to constrain our bodies and consciousness, and the explicitly gendered dimensions of this oppression. A critical reading of these texts alongside one another reveals striking resonances and confirms how Levi’s intuitions regarding the importance of critiquing unfettered technologised embodiment remain urgently relevant today
La letteratura si salverà dall’estinzione? Sulla sopravvivenza dei libri e delle storie in una prospettiva ecodistopica
Full text linkThe article focuses, from a perspective that makes use of the terminological and theoretical toolkit of media ecology, on some fictional texts – Douglas Coupland’s Generation A and Steven Hall’s The Raw Shark Texts – in which the theme of the possible extinction or survival of literature is dealt with in a reading key that we could define as ecodystopian. At a time of climate change and environmental disasters, these texts express deep concerns about the digitally altered narrative environment by drawing heavily on the metaphorical field of sustainability, exploitation and depletion of resources, and evolution and regeneration of forms, with a particular focus on the aquatic element.L’articolo si concentra, da una prospettiva che si avvale dello strumentario terminologico e teorico dell’ecologia dei media, su alcuni testi di finzione – Generation A di Douglas Coupland e The Raw Shark Texts di Steven Hall – in cui viene trattato il tema della possibile estinzione o sopravvivenza del letterario in una chiave di lettura che potremmo definire ecodistopica. In un periodo caratterizzato da cambiamenti climatici e disastri ambientali, anche questi testi esprimono preoccupazioni profonde riguardo all’ambiente narrativo – radicalmente modificato dal digitale – attingendo a piene mani al campo metaforico della sostenibilità, dello sfruttamento ed esaurimento delle risorse e dell’evoluzione e rigenerazione delle forme, con un focus particolare sull’elemento acquatico
The Ekphrastic Dispositif and Its Temporality
Full text linkThis paper dives into some of the definitions of ekphrasis, from the classical ones to more innovative. Firstly, the research aims to broaden the definition of the technique. To do so, it separates the two main moments of the ekphrastic operation – ekphrasis as process and ekphrasis as text –, reading them as dispositifs. Secondly, the temporality of the ekphrastic dispositif is deepened, interpreting it as a form of integration between the processuality of the verbal sign and the simultaneity of the image. Finally, it looks at two Edoardo Sanguineti’s poetic ekphraseis – Reisebilder 14 and Cose 2 – that present a relevant temporal articulation, allowing us to observe how the simultaneity of the ekphrastic object and the processuality of the poetic text are integrated and made to collaborate.In questo lavoro si ripercorrono alcune possibili interpretazioni dell’ekphrasis, da quelle classiche a quelle più innovative. In primo luogo, si cerca di superare definizioni che limitano la portata delle tecniche ecfrastiche, per rivolgersi verso prospettive più ampie che inglobino funzioni finora trascurate. Per andare verso questa direzione si separano i due momenti dell’operazione ecfrastica – l’ekphrasis-come-processo e l’ekphrasis-come-testo – e si leggono in chiave dispositiva. Successivamente si approfondisce la temporalità del dispositivo testuale ecfrastico, rileggendolo come forma di integrazione della simultaneità spaziale tipica dell’immagine e della processualità consequenziale tipica del segno verbale. Infine, si osservano da vicino due realizzazioni ecfrastiche di Sanguineti – Reisebilder 14 e Cose 2 – che presentano un’articolazione temporale degna di nota, in cui visualità e verbalità si confrontano in maniera tale che se da un lato vengono sollecitati gli elementi processuali latenti nella prevalente simultaneità dell’immagine, dall’altro alcune porzioni di simultaneità caratterizzante dell’immagine vengono integrate nella prevalente processualità del testo ecfrastico