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L’autore (quasi)-personaggio e altre identità mutevoli nella prosa romena postmodernista
Full text linkPresenterò in questo saggio alcuni aspetti che definiscono il personaggio nella letteratura romena degli anni ’80, ’90 del Novecento e dei primi anni 2000, ovvero il protagonista romanzesco che parla soprattutto in prima persona, anzitutto all’interno del paradigma letterario creato in seno al postmodernismo romeno, che è stato il modello più innovativo, interessante e produttivo nella prosa degli ultimi decenni in Romania. Nel panorama della letteratura romena sul finire del Novecento, dominata dalla narrativa che si ispira alla biografia di chi scrive, l’analisi dell’homo fictus presuppone anche l’approfondimento di altre nozioni connesse alla costruzione narrativa e al rapporto che si stabilisce fra realtà e finzione. Nei testi esaminati nel saggio saranno indicati alcuni di questi nessi, dapprima nella prosa di Mircea Cărtărescu e in modo più sintetico in taluni romanzi e racconti di Matei Vişniec e di Ştefan Agopian. Ho privilegiato il personaggio-autore o meglio l’autore-personaggio, ma si potrà notare che tale binomio si carica di valenze molteplici e di sfumature che rendono meno certo e un po’ sfuggente agli occhi del lettore lo statuto della medesima coppia di categorie critico-letterarie.In this paper I shall present some of the defining features of characterization in Romanian literature during the 80s and 90s of the 20th century, as well as the beginning of the 21st century. Namely, the first-person protagonist of a novel, above all within the literary paradigm created by Romanian Postmodernism, which has shown itself to be the most innovative, interesting and fruitful prose model in recent decades in Romania. In an overview of Romanian literature at the end of the 20th century, dominated by an autobiographical-driven style of fiction on the part of the author, an analysis of homo fictus also presupposes the exploration of other ideas connected with the narrative artefact, along with the relationship established between reality and fiction. Some of these links will be indicated in the texts analysed in this paper, first in the prose of Mircea Cărtărescu and, in a more synthetic approach, in some novels and short stories by Matei Vişniec and Ştefan Agopian. I have focused on the character-author, or rather, the author-character; but it will be seen that this pairing is imbued with polysemous significance and nuances that, to the reader’s eyes, blur the framework of this duo of critical-literary categories, making them hazier and more difficult to grasp. 
Misantropi e uomini del sottosuolo. Personaggi dalla narrativa italiana contemporanea
Full text linkNel mio intervento analizzerò una specifica declinazione del personaggio letterario moderno e contemporaneo, che chiamo ‘archetipo del misantropo’, nel campo della narrativa italiana contemporanea. Anche all’interno della ampia galleria dei personaggi romanzeschi moderni è possibile isolare alcuni casi paradigmatici della postura del misantropo. Il riferimento più diretto è l’«uomo del sottosuolo» di Dostoevskij (1864). Sono diversi però i casi di testi in cui un narratore in prima persona esibisce la sua condizione di isolamento sociale e umano e, attraverso i toni dell’invettiva politica, articola una visione pessimistica o apocalittica del contesto storico. Questa forma di romanzo-monologo e questa declinazione del personaggio sono specifiche della narrativa modernista e delle sue persistenze nella narrativa successiva. Il mio intervento si concentra su uno specifico tratto dell’archetipo del misantropo, che rintraccio nei testi di autori italiani pubblicati tra gli anni ’90 e gli anni ’00.In this contribution, I will analyze a specific variation of the modern and contemporary literary character – which I call “archetype of misanthrope” – in the field of contemporary Italian fiction. Within the broad gallery of modern fictional characters, it is possible to isolate some paradigmatic cases of the posture of the misanthrope. The most direct reference is Dostoevsky\u27s “man of the underground” (1864). However, there is a wide gamut of texts in which a first-person narrator exhibits his condition of social and human isolation, and articulates a pessimistic or apocalyptic vision of the historical context – through the tones of political invective. This form of novel-monologue and this declination of the character are typical of the modernist narrative and of its persistence in the subsequent narrative. Specifically, my talk focuses on a specific trait which characterizes the “archetype of misanthrope”, which I find in the texts of Italian authors published between the 1990s and the 2000s
Sartre et Foucault : l’hétérotopie du jardin public dans La Nausée
Full text linkThe heterotopia is a concept forged for the first time by Michel Foucault and it is a physical localization of the utopia, linked to two other concepts: the heterology and the heterochrony. The heterology is a discourse about the “other”, while the heterochrony is a kind of temporal utopia. Literature offers innumerable examples of heterotopias which give the possibility to meditate about the idea of “otherness”. This article shows that the foucauldian concept of heterotopia can be applied to La Nausée by Sartre, and focuses on a particular heterotopia that is present in Sartre’s work: the public garden.L’hétérotopie est un concept forgé pour la première fois par Michel Foucault et représente une localisation physique de l’utopie, liée à deux autres concepts : l’hétérologie et l’hétérochronie. L’hétérologie, c’est un discours sur l’« autre », tandis que l’hétérochronie est une sorte d’utopie temporelle. La littérature offre des exemples innombrables d’hétérotopies qui donnent la possibilité de réfléchir sur l’idée d’« altérité ». Cet article montre que le concept foucauldien d’hétérotopie peut être appliqué à La Nausée de Sartre, et se concentre sur une hétérotopie particulière qui est présente dans l’œuvre de Sartre : le jardin public.
 
“Teach me to pray”: the prayerological structure of the novel Anna Karenina of L.N. Tolstoy in the context of Christian Revival in the last half of 19th century
Full text linkThe role of prayers in the themes of Anna Karenina is considered. It is noted that Leo Tolstoy typology of characters is based on their attitude to prayers and praying. The paper analyzes origins and textual parallels of Levin’s prayers on the background of Christian revival in Russia during Alexander II’s reign, as well as certain aspects of Tolstoy prayerology (i.e. theology and theory of prayer, concept of prayer)
The Foregrounding Assessment Matrix: An interface for qualitative-quantitative interdisciplinary research
Full text linkThis paper presents the results of a transdisciplinary research conducted by scholars working in the humanities and experimental psychologists in order to find an interface between the needs of a qualitative approach (mainly based on the evaluation of stylistic features) and those of a quantitative analysis, in order to find useful features for testing different reading behaviors and for new hermeneutical enquiries. The results of our research, which was conducted in two Labs (Dahlem Institute for Neuroimaging of Emotion at the FU Berlin and the NewHums – Neurocognitive and Human Studies at the University of Catania), consistently differ from previous ones, as they focus on the whole multi-layered foregrounded texture of a poem and try to evaluate predictable differences in reading, re-reading behaviour and meaning-making processes.
We present the FAM, targeting foregrounding elements in three main categories: the phonological, morpho-syntactic, and rhetoric. To identify those elements, four different text levels were taken into account, the sublexical level of phonemes and syllables, the lexical level of single words, the interlexical level of word combinations across longer distance (e.g. two lines), and the supralexical level of whole stanzas or an entire poem. In contrast to previous quantitative analyses on short, isolated sentences and texts, mostly expository in nature (‘textoids’), or on single words or segments, the text is considered as a whole, marked by density fields that work as milestones along a reading route.This paper presents the results of a transdisciplinary research conducted by scholars working in the humanities and experimental psychologists in order to find an interface between the needs of a qualitative approach (mainly based on the evaluation of stylistic features) and those of a quantitative analysis, in order to find useful features for testing different reading behaviors and for new hermeneutical enquiries. The results of our research, which was conducted in two Labs (Dahlem Institute for Neuroimaging of Emotion at the FU Berlin and the NewHums – Neurocognitive and Human Studies at the University of Catania), consistently differ from previous ones, as they focus on the whole multi-layered foregrounded texture of a poem and try to evaluate predictable differences in reading, re-reading behaviour and meaning-making processes.
We present the FAM, targeting foregrounding elements in three main categories: the phonological, morpho-syntactic, and rhetoric. To identify those elements, four different text levels were taken into account, the sublexical level of phonemes and syllables, the lexical level of single words, the interlexical level of word combinations across longer distance (e.g. two lines), and the supralexical level of whole stanzas or an entire poem. In contrast to previous quantitative analyses on short, isolated sentences and texts, mostly expository in nature (‘textoids’), or on single words or segments, the text is considered as a whole, marked by density fields that work as milestones along a reading route.This paper presents the results of a transdisciplinary research conducted by scholars working in the humanities and experimental psychologists in order to find an interface between the needs of a qualitative approach (mainly based on the evaluation of stylistic features) and those of a quantitative analysis, in order to find useful features for testing different reading behaviors and for new hermeneutical enquiries. The results of our research, which was conducted in two Labs (Dahlem Institute for Neuroimaging of Emotion at the FU Berlin and the NewHums – Neurocognitive and Human Studies at the University of Catania), consistently differ from previous ones, as they focus on the whole multi-layered foregrounded texture of a poem and try to evaluate predictable differences in reading, re-reading behaviour and meaning-making processes.
We present the FAM, targeting foregrounding elements in three main categories: the phonological, morpho-syntactic, and rhetoric. To identify those elements, four different text levels were taken into account, the sublexical level of phonemes and syllables, the lexical level of single words, the interlexical level of word combinations across longer distance (e.g. two lines), and the supralexical level of whole stanzas or an entire poem. In contrast to previous quantitative analyses on short, isolated sentences and texts, mostly expository in nature (‘textoids’), or on single words or segments, the text is considered as a whole, marked by density fields that work as milestones along a reading route.This paper presents the results of a transdisciplinary research conducted by scholars working in the humanities and experimental psychologists in order to find an interface between the needs of a qualitative approach (mainly based on the evaluation of stylistic features) and those of a quantitative analysis, in order to find useful features for testing different reading behaviors and for new hermeneutical enquiries. The results of our research, which was conducted in two Labs (Dahlem Institute for Neuroimaging of Emotion at the FU Berlin and the NewHums – Neurocognitive and Human Studies at the University of Catania), consistently differ from previous ones, as they focus on the whole multi-layered foregrounded texture of a poem and try to evaluate predictable differences in reading, re-reading behaviour and meaning-making processes.
We present the FAM, targeting foregrounding elements in three main categories: the phonological, morpho-syntactic, and rhetoric. To identify those elements, four different text levels were taken into account, the sublexical level of phonemes and syllables, the lexical level of single words, the interlexical level of word combinations across longer distance (e.g. two lines), and the supralexical level of whole stanzas or an entire poem. In contrast to previous quantitative analyses on short, isolated sentences and texts, mostly expository in nature (‘textoids’), or on single words or segments, the text is considered as a whole, marked by density fields that work as milestones along a reading route.This paper presents the results of a transdisciplinary research conducted by scholars working in the humanities and experimental psychologists in order to find an interface between the needs of a qualitative approach (mainly based on the evaluation of stylistic features) and those of a quantitative analysis, in order to find useful features for testing different reading behaviors and for new hermeneutical enquiries. The results of our research, which was conducted in two Labs (Dahlem Institute for Neuroimaging of Emotion at the FU Berlin and the NewHums – Neurocognitive and Human Studies at the University of Catania), consistently differ from previous ones, as they focus on the whole multi-layered foregrounded texture of a poem and try to evaluate predictable differences in reading, re-reading behaviour and meaning-making processes.
We present the FAM, targeting foregrounding elements in three main categories: the phonological, morpho-syntactic, and rhetoric. To identify those elements, four different text levels were taken into account, the sublexical level of phonemes and syllables, the lexical level of single words, the interlexical level of word combinations across longer distance (e.g. two lines), and the supralexical level of whole stanzas or an entire poem. In contrast to previous quantitative analyses on short, isolated sentences and texts, mostly expository in nature (‘textoids’), or on single words or segments, the text is considered as a whole, marked by density fields that work as milestones along a reading route
Appunti per una teoria del personaggio-artista nel romanzo italiano contemporaneo
Full text linkThe artist-character is a recurrent figure in Italian fiction in recent decades, demonstrating the long tradition of the artist’s novel and also its centrality in the contemporary imaginary. In spite of this continuous presence, however, in Italy there is a lack of studies specifically dedicated to this character, which requires different methodological tools due to its location at the intersection of different levels of the construction of the text meaning. The key notions elaborated in the field of visual studies – today dominant in the interactions between literature and visual arts – need to be integrated with the investigation of narratological and sociological aspects that his figure calls into question. By contextualizing the problem and analyzing the implications that this character determines within a narration, in this paper we propose a first, embryonic attempt to elaborate the foundations of a theory of the character-artist in the contemporary Italian novel, in order to give a methodological basis for future insights.Il personaggio-artista è una figura ricorrente nella produzione narrativa italiana degli ultimi decenni, a dimostrazione della lunga durata della tradizione del romanzo dell’artista e anche di una sua centralità nell’immaginario contemporaneo. A fronte di questa presenza continua, mancano però in Italia studi dedicati in maniera specifica all’analisi di questo personaggio, che richiede un ricorso a strumenti metodologici differenti in virtù della sua collocazione all’incrocio tra diversi piani della costruzione del senso di un testo. Le nozioni cardine elaborate nell’ambito dei visual studies – oggi dominanti nell’ambito delle interazioni tra letteratura e arti visive – necessitano infatti di essere integrate con l’indagine di aspetti narratologici e anche sociologici che la sua figura chiama in causa. Contestualizzando il problema e analizzando le implicazioni che questo carattere determina all’interno di una narrazione, in questo intervento si propone un primo, embrionale tentativo di elaborare i fondamenti di una teoria del personaggio-artista nel romanzo italiano contemporaneo, allo scopo di dare una base metodologica per futuri approfondimenti
Tradurre un mito letterario: tradurre Orazio
Full text linkQuinto Orazio Flacco è fra i più tradotti auctores latini nelle culture letterarie d’Europa, soprattutto nei secoli XVI, XVII, XVIII. La ricostruzione repertoriale e critica delle traduzioni che hanno avuto per oggetto il suo corpus si offre, quindi, come documento particolarmente significativo della fortuna traduttoria di un mito letterario, in quanto attesta il rapporto di imitatio/aemulatio che numerosi autori hanno stabilito con il modello nel momento in cui hanno deciso di assimilarlo, attraverso le traduzioni, alle lingue e alle culture nazionali cui essi appartengono.Quinto Orazio Flacco is among the most translated Latin auctores in Europian literary cultures, especially in the 16th, 17th and 18th centuries. The repertory and critical reconstruction of the translations that have been the subject of its corpus is therefore offered as a particularly significant document of the fortune of the translation of a literary myth, as it attests to the relationship of imitatio/aemulatio that many Authors established with the model at the time when they decided to assimilate it, through translations, to the National languages and cultures to which they belong
«Positioning theory» e analisi del soggetto lirico
Full text linkLo scopo di questo lavoro è delineare un metodo microanalitico per osservare il modo in cui l’io lirico costruisce la propria personalità dialogando con un interlocutore immaginario o reale. Rifacendomi alle tesi della positioning theory, sostengo che questo dialogo si può scomporre in una serie di posizioni, di atti illocutori e di storylines che gli interlocutori generano continuamente nel flusso del discorso, e grazie ai quali costruiscono per sé stessi e per l’altro delle microidentità locali sottoposte a un processo di continua negoziazione. Confronto poi le tesi della positioning theory, nonché i suoi risultati analitici, alla teoria stilistica bachtiniana e alla sua applicazione nel saggio su Dostoevskij. Infine, sfruttando gli strumenti messi a disposizione da questo metodo, commento un testo tratto dalla raccolta Voi di Umberto Fiori, “Non dite che mi siete indifferenti…”.The aim of this paper is to outline a microanalytical method to observe the way in which the lyrical subject builds his own personality by dialoguing with an imaginary or real interlocutor. Referring to positioning theory, I argue that this dialogue can be analyzed as a series of positions, illocutionary acts and plots that the interlocutors continuously generate in the flow of speech, in order to build local micro-identities subjected to a process of continuous negotiation. Then I compare some thesis of positioning theory with the Bakthinian stylistic theory and its application in the essay about Dostoevsky. Finally, I use the tools provided by this method to analyze the poem “Non dite che mi siete indifferenti…” (Voi) by Umberto Fiori
Narrative Empathy, Vulnerability and Ethics of Care in William Trevor’s Fiction
Full text linkThis essay engages with the relationship between ethics and literature. To this end, it addresses the theoretical framework of narrative empathy as illustrative of the supposed ethical power of literary writing. Using a corpus of William Trevor’s fiction, Reading Turgenev (1991) and Love and Summer (2009) as case study, the essay suggests that Trevor’ use of metafictional devices (metalepses and the disnarrated), temporal disarray and multifocal perspectives tends to complicate the general assumption of empathy as necessarily easy and spontaneous. These formal strategies of literary representation manifest the underlying manipulative nature of narrative empathy, confronting readers with the ethical effects of empathy. In so doing, Trevor’s fiction edges towards the aesthetics of vulnerability in that it entails an ethics of reading and writing that reminds the reader of the darkest sides of human existence
Io e altri nella poesia di Raboni: Dalle Case della Vetra a Cadenza d\u27inganno
Full text linkThis article intends to examine the relationship between the lyric ego and the other individuals in Raboni’s first two collections of poems, Le case della Vetra and Cadenza d’inganno, against the background of the weakening process of the poetic “I” which occurred around the 1960s. The aim is to show how the Milanese poet progressively opens the space of his texts to other characters’ speech in order to create a new type of lyric poetry, in which the “I” shares with the others that enunciative centrality which had long been its exclusive prerogative.Il presente articolo si propone di indagare i rapporti tra l’io e gli altri nelle prime due raccolte di Raboni, Le case della Vetra e Cadenza d’inganno, sullo sfondo del generale processo di indebolimento del soggetto poetico verificatosi attorno agli anni Sessanta del Novecento. L’obiettivo è di mostrare come il poeta milanese apra progressivamente lo spazio dei suoi testi alla parola altrui sino a giungere a un nuovo modo di intendere la lirica, in cui l’io condivide con gli altri quella centralità enunciativa che a lungo era stata sua prerogativa esclusiva.This article intends to examine the relationship between the lyric ego and the other individuals in Raboni’s first two collections of poems, Le case della Vetra and Cadenza d’inganno, against the background of the weakening process of the poetic “I” which occurred around the 1960s. The aim is to show how the Milanese poet progressively opens the space of his texts to other characters’ speech in order to create a new type of lyric poetry, in which the “I” shares with the others that enunciative centrality which had long been its exclusive prerogative