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«Malinconia della primavera». La perdita della natura negli esordi di Attilio Bertolucci
Full text linkLe impressionistiche rappresentazioni del paesaggio che caratterizzano la prima produzione in versi di Attilio Bertolucci parlano in filigrana di una perdita della natura da parte del soggetto poetico. Muovendo da alcune prose giovanili dell’autore e soffermandosi poi su Sirio e Fuochi in novembre, l’articolo mira innanzitutto a delineare questa vicenda. Ciò consente in un secondo momento di riconsiderare la postura enunciativa tipica della poesia bertolucciana, quella dell’io lirico che descrive il paesaggio campestre, e soprattutto il ruolo dello sguardo, che in ragione dei rilievi effettuati mostra il suo carattere di limite accanto a quello di fondamentale risorsa conoscitiva. Vengono infine indagati i motivi della perdita, riconducibili all’azione corrosiva del tempo e alla prigionia causata dalla vita in città, e il significato simbolico profondo della separazione dalla natura.The impressionistic representations of the landscape that characterise Attilio Bertolucci’s first verse production speak in the background of a loss of nature on the part of the poetic subject. Starting from some of the author’s juvenile prose and then examining Sirio and Fuochi in novembre, the article aims, first of all, to delineate such an experience. This allows, afterwards, to reconsider the enunciative posture typical of Bertolucci’s poetry, that of the lyric self describing the rural landscape, and above all the role of the gaze, which, as a result of the analysis carried out, shows its character of limit alongside that of fundamental cognitive resource. Finally, the article identifies the reasons for the loss, which can be traced back to the corrosive action of time and the imprisonment caused by life in the city, and the profound symbolic meaning of the separation from nature
Decifrare il Madrigale di Leopardi
Full text linkIl saggio indaga una lirica di Leopardi, il Madrigale, inedita in vita, e ritrovata su un’unico foglio tra gli autografi delle carte napoletane. La breve lirica appare in due versioni, con alcuni versi varianti riportati in fondo all’autografo. Se dal punto di vista filologico è evidente che la versione posteriore sia la seconda, non è chiaro cosa esattamente la distingua dalla prima. Il mio argomento è che i testi del Madrigale sono distinti per alcune strutture poetiche (lo schema del fraseggio prosodico, la struttura metrica di un verso variante, e la distribuzione dei pronomi personali nel testo), che sono definite solo nella seconda versione. Dopo aver proposto un’analisi di queste strutture nel Madrigale, discuto criticamente alcuni fondamenti dell’approccio strutturale al testo poetico. Di qui lascio infine emergere una lettura che connette l’analisi strutturale all’estetica sociologica, e all’antropologia letteralmente decifrando la natura di ‘Dinggedichtnegativo’ del MadrigaleThis article focuses on Leopardi’s Madrigale, which was left unpublished by the author, and found on a single manuscript page among the so-called Neapolitan papers. It appears in two versions, with three variant lines at the bottom of the page. Philologists reasonably consider the second version to be nearer to the author’s will. It is, however, unclear what exactly distinguishes it from the first one. Here, I argue that specific poetic structures set the two versions apart (namely, prosodic phrasing, the metrical structure of one variant line, and the distribution of personal pronouns in the text). After proposing an analysis of these three types of structures, I critically discuss some of the most relevant questions arising from the structural approach. On this basis, I provide a reading of the above analysis drawing on both sociological aesthetics and anthropology, in order to decipher the nature of the Madrigale as a ‘negative Dinggedicht.
October 1917: A Changing Landscape for Peasant Literature. The Role of the Journal Na postu
Full text linkThe article analyzes the role played by the journal "Na postu" in the marginalization of village literature. In the 1920s, the role played by this journal was more important than generally expected, because the editors were able to accelerate and in a certain way guide the government\u27s choices in the cultural sphere. As a result, an entire strand of Russian cultural tradition was obliterated. The village literature writers were slandered and then physically o socially liquidated or replaced with authors ideologically conforming to the new collective farm literature.The article analyzes the role of the journal Na Postu in the complicated and in many ways conflictual transition from a peasant literature, in the 1930s declared as kulak literature, to the literature of kolchoz. The journal Na postu provided a forum for discussion and debate, at time heated, developing along lines which, in light of current knowledge and the concept of governmentality elaborated by M. Foucault, allow us to rework certain viewpoints that have proven inadequate to interpreting Soviet literature from the 1920s
«There is Nothing There». Dmitrii Danilov’s Travel Writing and the Lure of the Russian Provinces
Full text linkDrawing on Michel de Certeau’s seminal study The Practice of Everyday Life, the author argues that Dmitrii Danilov’s travel writing (Twenty Cities, 2007-2009) reimagines Russia’s symbolic geography by destabilizing the traditional opposition centre – periphery. Rather than depicting the provincial world as either an absurd and horrid world, or as a repository of “true Russianness”, Danilov provides a “decentred” perspective on the provinces that asserts the uniqueness of each city he visits. The novel Description of a City (2012), however, resurrects the more traditional view of the provinces as a world of boredom and cultural lack. To analyse this development the article looks at the central figure of the sluggish traveller-narrator, the employment of “camera-eye narration” and other, mainly linguistic, devices that reaffirm the notion of the provincial city’s “namelessness” as one of its most defining characteristics. Drawing on Michel de Certeau’s seminal study The Practice of Everyday Life, the author argues that Dmitrii Danilov’s travel writing (Twenty Cities, 2007-2009) reimagines Russia’s symbolic geography by destabilizing the traditional opposition centre – periphery. Rather than depicting the provincial world as either an absurd and horrid world, or as a repository of ‘true Russianness’, Danilov provides a ‘decentred’ perspective on the provinces that asserts the uniqueness of each city he visits. The novel Description of a City (2012), however, resurrects the more traditional view of the provinces as a world of boredom and cultural lack. To analyse this development the article looks at the central figure of the sluggish traveller-narrator, the employment of ‘camera-eye narration’ and other, mainly linguistic, devices that reaffirm the notion of the provincial city’s ‘namelessness’ as one of its most defining characteristics.Опираясь на фундаментальное исследование Michel de Certeau "Практика повседневности", автор утверждает, что очерки Дмитрия Данилова ("Двадцать городов", 2007-2009) переосмысливает символическую географию России, дестабилизируя традиционный оппозиционный центр - периферию. Вместо того, чтобы изображать провинциальный мир либо абсурдным и ужасным, либо хранилищем "истинной русскости", Данилов дает "де-централизованный" взгляд на провинцию, утверждающий уникальность каждого города, который он посещает. Однако роман "Описание города" (2012) воскрешает более традиционный взгляд на провинцию как на мир скуки и культурного дефицита. Для анализа этого вектора развития в статье рассматривается центральная фигура вялотекущего путешественника-расказчика, использование "повествования камеры-ока" (camera-eye narration) и других, в основном лингвистических, приёмов, подтверждающих понятие провинциального города "безымянность" как одной из его наиболее определяющих черт
Recensione di Penna, Sandro. Within the Sweet Noise of Life. Seagull Books, 2021
Full text linkReview of Within the Sweet Noise of Life, by Sandro Penna (Seagull Books 2021).Recensione di Within the Sweet Noise of Life, di Sandro Penna (Seagull Books 2021)
A Villager’s Map of the Provinces
Full text linkabstractWhat did a Russian peasant’s ‘mental map’ look like between 1917 and the consolidation of the Soviet order in 1934? To what extent does a specific province or oblast have a place on this map? Was ‘provincial Russia’ how peasants thought about the vast non-urban territory in transition? Provincial identity is an elusive category during any period – it was not the mental or physical space in which peasants lived. They resided in a village, were members of a parish encompassing several neighboring communities, and had contact with larger geographical units when they bought and sold goods, left for work in towns or cities, or were called up for military service. The fact that provincial identity is difficult to quantify does not make it insignificant, and, with the help of rural literature and oral histories, this paper will track provincial and regional ties among peasants for this period
Gender Criticism In the Azerbaijani Turkic Folktale of the Book of Dede Korkut
Full text linkFolktale est le miroir de la société des êtres humains qui reflète les modes de vie des gens. Parmi les genres littéraires, les contes populaires azerbaïdjanais jouent un rôle important dans les communautés de langue turque. Le livre de Dede Korkut est l\u27un des plus anciens contes populaires du peuple turc. De plus, l\u27égalité des sexes est l\u27une des parties les plus importantes des histoires du Livre de Dede Korkut. De plus, les hommes et les femmes ont des rôles fiers dans leur tribu, et les positions des femmes sont considérées comme égales aux hommes. Cette étude vise à examiner la critique des modèles de rôles de genre dans le conte populaire azerbaïdjanais du Livre de Dede Korkut. Cette recherche utilise les cadres théoriques de Copenhague, tels que les caractéristiques du comportement et la source de pouvoir, pour critiquer les modèles de rôle de genre dans les différentes histoires du Livre de Dede Korkut. Ainsi, cette recherche a révélé qu\u27il y avait une relation positive significative entre les deux sexes dans leur société.Сказка - это зеркало человеческого общества, отражающее образ жизни людей. Среди литературных жанров азербайджанские народные сказки играют значительную роль в тюркоязычных общинах. Книга Деде Коркут - одна из древнейших сказок тюркских народов. Кроме того, гендерное равенство - одна из самых важных частей книги Деде Коркут. Кроме того, мужчины и женщины играют гордая роль в своем племени, а положение женщин считается равным с мужчинами. Целью данного исследования является изучение критики гендерных ролевых моделей в азербайджанской сказке из Книги Деде Коркут. В этом исследовании используются теоретические основы Копенгейвера, такие как «Характеристики поведения» и «Источник власти», для критики гендерных ролевых моделей в различных историях Книги Деде Коркут. Таким образом, это исследование показало, что в их обществе существует значительная положительная взаимосвязь между обоими полами.Folktale is the mirror of human being society that reflects the people’s ways of life. Among the literary genres, the Azerbaijani folktales play a significant role in the Turkic-speaking communities. The Book of Dede Korkut is one of the oldest folktales of Turkic people. Additionally, gender equality is one of the most significant parts of the stories of the Book of Dede Korkut. Furthermore, men and women have prideful roles in their tribe, and the positions of women, are considered equal to men. This study intends to examine gender role models criticism in the Azerbaijani folktale of the Book of Dede Korkut. This research uses Copenhaver’s theoretical frameworks, such as Behavior Characteristics and Source of Power, to criticize gender role models in the different stories of the Book of Dede Korkut. Thus, this research revealed that there was a significant positive relationship between both genders in their society.Folktale is the mirror of human being society that reflects the people’s ways of life. Among the literary genres, the Azerbaijani folktales play a significant role in the Turkic-speaking communities. The Book of Dede Korkut is one of the oldest folktales of Turkic people. Additionally, gender equality is one of the most significant parts of the stories of the Book of Dede Korkut. Furthermore, men and women have prideful roles in their tribe, and the positions of women, are considered equal to men. This study intends to examine gender role models criticism in the Azerbaijani folktale of the Book of Dede Korkut. This research uses Copenhaver’s theoretical frameworks, such as Behavior Characteristics and Source of Power, to criticize gender role models in the different stories of the Book of Dede Korkut. Thus, this research revealed that there was a significant positive relationship between both genders in their society.El cuento popular es el espejo de la sociedad del ser humano que refleja las formas de vida de las personas. Entre los géneros literarios, los cuentos populares azerbaiyanos desempeñan un papel importante en las comunidades de habla turca. El Libro de Dede Korkut es uno de los cuentos populares más antiguos de los turcos. Además, la igualdad de género es una de las partes más importantes de las historias del Libro de Dede Korkut. Además, los hombres y las mujeres tienen roles de orgullo en su tribu, y las posiciones de las mujeres se consideran iguales a las de los hombres. Este estudio tiene la intención de examinar la crítica de los modelos de roles de género en el cuento popular azerbaiyano del Libro de Dede Korkut. Esta investigación utiliza los marcos teóricos de Copenhaver, como Behavior Characteristics y Source of Power, para criticar los modelos de rol de género en las diferentes historias del Libro de Dede Korkut. Por lo tanto, esta investigación reveló que existía una relación positiva significativa entre ambos géneros en su sociedad
«We Should Never Write Without Feeling». Studi su William T. Vollmann. Introduzione
Full text linkPresentazione della sezione “«We Should Never Write Without Feeling». Studi su William T. Vollmann”.
Introduction to the monographic section “’We Should Never Write Without Feeling.’ Studies on William T. Vollmann”
Lucini ésotérique et vers-libriste : une interprétation cabaliste et prospective des Armonie sinfoniche
Full text linkThe Symphonic Harmonies are a composite project probably prepared by G. P. Lucini between 1885 and 1888 of which only two poems were published in 1892, those ones that show Lucini’s first verslibrist attempt. These two poems mark the beginning of an experimentation that will be typical of the symbolist and ‘futurist’ poetry of Lucini, who rightfully will be later considered as the inventor of the free verse in Italy, thanks to a revival accomplished by the Italian neo-avant-gardists of the 60’s. Some other parties of his early project, which remained unpublished during his lifetime, show his interests in cabalism. Without underestimating the contributions of the 70’s on this subject, we will propose its possible sources and a more profound esoteric interpretation of these writings, which will also be considered in relation to Lucini’s concurrent and future production.Les harmonies symphoniques sont un projet composite, apparemment rédigé par Lucini entre 1885 et 1888, dont seulement deux poèmes ont été publiés en 1892, ceux-là mêmes qui témoignent du premier emploi vers-libriste chez Lucini. Si ces deux poèmes marquent le début d’une expérimentation qui sera propre de la poésie symboliste et ‘futuriste’ de Lucini, plus tard considéré à bon escient comme l’inventeur du vers libre en Italie grâce à sa redécouverte par les néo-avant-gardistes italiens des années 1960, d’autres parties de ce projet de jeunesse restées inédites de son vivant montrent ses intérêts en matière de cabalisme. Sans sous-estimer les apports des années 1970 sur ce sujet, nous proposerons des sources possibles et une interprétation ésotérique plus approfondie de ces écrits, qui seront aussi envisagés par rapport à la production concomitante et future de Lucini.Les harmonies symphoniques sont un projet composite, apparemment rédigé par Lucini entre 1885 et 1888, dont seulement deux poèmes ont été publiés en 1892, ceux-là mêmes qui témoignent du premier emploi vers-libriste chez Lucini. Si ces deux poèmes marquent le début d’une expérimentation qui sera propre de la poésie symboliste et ‘futuriste’ de Lucini, plus tard considéré à bon escient comme l’inventeur du vers libre en Italie grâce à sa redécouverte par les néo-avant-gardistes italiens des années 1960, d’autres parties de ce projet de jeunesse restées inédites de son vivant montrent ses intérêts en matière de cabalisme. Sans sous-estimer les apports des années 1970 sur ce sujet, nous proposerons des sources possibles et une interprétation ésotérique plus approfondie de ces écrits, qui seront aussi envisagés par rapport à la production concomitante et future de Lucini
Vuoti d’immagine: rimozioni e false memorie
Full text linkThe paper investigates mechanisms of removal and false memories in phototextual narratives. In particular, I will propose a typology capable of categorising the ways in which oblivion takes artistic form through various ways of excluding an image from the reader\u27s field of vision. The photos thus leave an interpretative space for readers, who find themself in front of an enigmatic situation continuously questioned by the word.Il saggio indaga i meccanismi di rimozione e di false memorie nelle narrazioni fototestuali. In particolare si cercherà di proporre una tipologia in grado di categorizzare i modi in cui l’oblio prende forma attraverso varie modalità di esclusione di un’immagine dal campo visivo del lettore. Le foto lasciano, così, uno spazio interpretativo al lettore che si trova davanti a una situazione enigmatica continuamente interrogata dalla parola