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"Il mio problema è far fare le prefazioni dei russi": «Il mio problema è far fare le prefazioni dei russi» Italo Calvino and the Russian Literature in Cento-pagine
No full textLa direzione di Centopagine si rivelò una delle attività editoriali più rilevanti, per la responsabilità intrapresa, il lavoro profuso e la durata dell’impresa, compiute da Italo Calvino. Avviata nel 1971 con l’obiettivo di raccogliere romanzi brevi del passato, e terminata con la scomparsa di Calvino nel 1985, per Centopagine la presenza delle opere della letteratura ottocentesca russa fu essenziale. Nella collana apparvero le opere di alcuni dei più grandi autori russi dell’epoca – Čechov, Dostoevskij, Gogol’, Leskov, Puškin e Tolstoj –, del cui allestimento editoriale sono rimaste le testimonianze non solo del lavoro del Calvino editore, ma anche del Calvino saggista. I libri degli autori russi selezionati erano infatti considerati emblematici da Calvino per mostrare, attraverso esempi narrativi concreti, i meccanismi e l’essenza del romanzesco, la cui «riabilitazione» era al centro dell’attività di recupero letterario costituito da CentopagineThe direction of Centopagine proved to be one of the most significant publishing activities undertaken by Italo Calvino, in terms of the responsibility undertaken, the work put in and the duration of the enterprise. Started in 1971 with the aim of collecting short novels from the past, and ended with Calvino\u27s death in 1985, for Centopagine the presence of works of 19th-century Russian literature was essential. The books of some of the greatest Russian authors of the time – Chekhov, Dostoyevsky, Gogol’, Leskov, Pushkin and Tolstoy – appeared in the collection, and were in fact considered emblematic by Calvino to show, through concrete narrative examples, the mechanization and essence of the romanzesco, whose «rehabilitation» was at the centre of the literary recovery undertaken by Centopagin
Lacan’s Last Mistakes: The Non-Existence of the Sexual Relation and the Woman as Exception. A Logical and Philosophical Inquiry
No full textTwo theses have made Lacan’s Seminar XX famous: the non-existence/impossibility of the sexual relation (‘il n’y a pas de rapport sexuel’) and the non-existence of ‘THE Woman.’ Conceptually speaking, then, it is negation that must be recognized as the true protagonist of this Seminar. Yet negation is a polysemic logical connective, and Lacanian scholasticism tends to ignore this. The ‘not’ of the sexual relation is now cited as a self-evident truth: its paradoxical nature has been almost entirely lost, and ‘il n’y a pas de rapport sexuel’ ends up sounding very much like ‘Santa Claus does not exist.’ The first and foremost culprit of this inevitable degradation is Lacan himself, for two reasons: first, because his arguments, if examined carefully, appear inconsistent and verge on the ridiculous; and more importantly, because they are based on the fallacy that ‘THE Logic’ exists. Lacan’s major error was to believe that the logic of Frege and Russell was the only possible one. In reality, it corresponds to a separative style of thought, which produces distortions and falsehoods when applied to conjunctive and flexible relationships – relationships that human beings cannot renounce. There is another meaning of negation: an overcoming ‘not’, endowed with a force of nihilation – the very force that femininity (once freed from the mantra of alterity) reveals in its power, so closely akin to that of psychoanalysis.Ci sono due tesi che hanno reso celebre il Seminario XX di Lacan: l’inesistenza/impossibilità del rapporto sessuale (‘il n’y a pas de rapport sexuel’) e l’inesistenza di ‘LA donna’. Dunque, dal punto di vista concettuale, è nella negazione che dobbiamo riconoscere il protagonista di questo Seminario. Tuttavia, la negazione è un connettivo logico polisemico, e la scolastica lacaniana lo ignora. Il ‘non’ del rapporto sessuale viene ormai menzionato come una verità evidente: il suo carattere paradossale è stato quasi completamente smarrito e ‘il n’y a pas de rapport sexuel’ risulta molto simile a ‘non esiste Babbo Natale’. Il primo responsabile di questo inevitabile degrado è però lo stesso Lacan, per due motivi: anzitutto, perché le sue argomentazioni, se esaminate con attenzione, appaiono inconsistenti, e sconfinano nel ridicolo. Ma, soprattutto, perché esse si fondano sulla fallacia per cui esisterebbe ‘LA logica’. Il grande errore di Lacan consiste nell’aver creduto che la logica di Frege e di Russell fosse l’unica logica possibile: in realtà, essa corrisponde a uno stile di pensiero separativo, e produce distorsioni e falsità quando viene applicata alle relazioni congiuntive e flessibili, a cui non possono rinunciare gli esseri umani. Esiste un altro significato della negazione: il ‘non’ oltrepassante, che possiede una forza di nientificazione – quella che la femminilità (liberata del mantra dell’alterità) mostra nel suo potere, così affine a quello della psicoanalisi
Review of Renata Gambino & Grazia Pulvirenti, Mind the Text! Neurohermeneutics for Suspicious Readers (Cambridge Scholars Publishing, 2024)
Full text linkReview of Renata Gambino & Grazia Pulvirenti, Mind the Text! Neurohermeneutics for Suspicious Readers. Cambridge Scholars Publishing, 2024
Going with the Flow. For a Cultural History of Flow.: The Late 18th century and the In-tertwining of a Metaphor with the Epistemological and Aesthetic Debate.
No full text
The article analyzes the use of the metaphor of "flow" in the cultural context of the second half of the 18th century, with particular attention to that debate, epistemological as well as aesthetic, which prepares and accompanies the ongoing literary revolutions and, in particular, the birth of the modern novel. The metaphor of "flow" is analyzed as a catalyst of a broader metonymic field relating to images and concepts of liquidity, ambiguity, volatilization of reality, etc., and, more generally, as a concretion of a gradual crisis of the stable foundations of the episteme. It is precisely this crisis, in its manifestations in different debates and in different disciplines, that is underlined by the metaphor on the table, as it is in turn connected to the social, political and economic upheavals underway at the time.L’articolo propone una ricognizione dell’uso della metafora del “flusso” nell’ambito culturale del secondo ‘700, con particolare attenzione a quel dibattito, epistemologico come estetico, che prepara e accompagna le rivoluzioni letterarie in corso e, in particolare, la nascita del novel moderno. La metafora del “flusso” viene analizzata come catalizzatrice di un più vasto campo metonimico afferente a immagini e concetti di liquidità, ambiguità, volatilizzazione del reale, ecc., e, più in generale, concrezione di una graduale crisi dei fondamenti stabili dell’episteme. È appunto tale crisi, nelle sue manifestazioni in differenti dibattiti e in differenti discipline, a essere sottolineata dalla metafora in questione, per come a sua volta connessa ai rivolgimenti sociali, politici ed economici allora in corso
"Con quella voce armonica e suadente": Stoppani\u27s Scientific Lectures
No full textThe article explores the role of Antonio Stoppani’s scientific conferences in the context of scientific dissemination between the 19th and 20th centuries. Through a detailed analysis of his lectures and their editorial circulation, the text highlights how the conference genre was a popular and influential form of scientific communication. The historical context in which Stoppani operated is reconstructed, comparing his conferences with those of other scholars and writers of the time, as well as with his most renowned works, such as Acqua ed aria and Il Bel Paese. The article examines the rhetorical and structural strategies Stoppani employed to make his lectures accessible and engaging, analyzing the transition from specialized to popularized language. Finally, it highlights the evolution of the conference genre and its impact on shaping a scientific consciousness in Italian society at the time.L\u27articolo studia il ruolo delle conferenze di Antonio Stoppani nel contesto della divulgazione scientifica tra Otto e Novecento, affiancandole a quelle di altri scienziati e letterati dell\u27epoca e valutandone la diffusione editoriale, che dimostra come il genere fosse una forma popolare e influente di comunicazione del sapere. Analizzando le strategie retoriche e strutturali adottate da Stoppani per rendere accessibili e coinvolgenti le sue lezioni emerge la centralità della raccolta di conferenze Acqua ed aria rispetto alla sua produzione più strettamente scientifica e alla sua opera più popolare, Il Bel Paese, con il passaggio da un linguaggio specialistico a quello divulgativo. Infine, si evidenzia l’evoluzione del genere conferenza e il suo forte impatto sulla formazione di una coscienza scientifica nella società italiana del tempo
Strategie interpretative ed effetti di lettura nell’esperienza didattica. Dissonanze e Stimmungen della narrativa innaturale
No full textQuesto contributo intende esplorare la dimensione esperienziale dell’atto di lettura all’interno del paradigma innaturale, al fine di un confronto tra critica letteraria e didattica della letteratura. Considerando la potenzialità immaginativa e cognitiva di trame dall’alto grado di dissonanza, si propone di verificare, da una prospettiva teorica ed applicativa, le strategie ermeneutiche adottate dai lettori di fronte alle incongruenze anti-mimetiche a livello di forma e contenuto. Sarà necessario dapprima individuare gli attributi del racconto innaturale e le principali modalità di lettura che esso innesca secondo i teorici che se ne sono occupati. In un secondo momento, si delineerà un percorso didattico-sperimentale volto a valutare, in un contesto educativo, l’efficacia di una narrazione innaturale. Le risposte dei lettori verranno analizzate ed interpretate considerando specifiche categorie cognitive. In ultimo, si tenterà di operazionalizzare i processi diretti ed indiretti di immedesimazione al fine di vagliare il grado di coincidenza – o, eventualmente, di discordanza – rispetto alle ipotesi sostenute.This contribution aims to explore the experiential dimension of reading within the Unnatural paradigm, in order to compare literary criticism and literature education. Considering the imaginative and cognitive potential of highly dissonant plots, the objective is to verify, from a theoretical and application point of view, the hermeneutic strategies readers in the face of anti-mimetic inconsistencies in form and content. It will first be necessary to identify the main features of the Unnatural narrative and the main modes of reading it triggers according to theorists have deal with it. Subsequently, a didactic experiment will be designed to evaluate the effectiveness of an Unnatural narrative in educational settings. Readers\u27 responses will be recorded for analysis and interpretation by considering specific cognitive categories. Finally, the study aims to operationalise both direct and indirect identification processes, in order to assess the extent of alignment – or divergence – with initial theoretical assumptions
Space, Time, and Identity in Sir Gawain and the Green Knight
Full text linkSir Gawain and The Green Knight explores the transformation of Gawain’s identity through his quest, where time and space play crucial roles. The narrative juxtaposes brief, action-packed episodes with extended periods of stillness, emphasizing Gawain\u27s passive heroism. The circular structure of the journey symbolizes a return to the self, yet transformed through encounters with the other. The use of Paul Ricœur\u27s theory about narrative identity highlights the significance of Gawain\u27s wounds as paths to self-recognition. The comparison with David Lowery’s 2021 film adaptation reveals contemporary concerns with identity and otherness
Free Indirect Discourse. German and Russian Literature
Full text linkThe paper first gives a definition of free indirect discourse (FID) and then characterizes the two main directions of its research. The more traditional one, is based on the application of the three modes of speech representation to the representation of characters\u27 minds (direct, indirect, and free indirect discourse). The text interference model is an alternative to the tripartite approach. It goes back to Mixail Baxtin\u27s description of FID as a "hybrid construction" that "contains mixed within it two utterances, two speech manners, two styles, two \u27languages\u27, two semantic and axiological belief systems". The following essay examines the development of free indirect discourse (FID) in German and Russian literature.The paper first gives a definition of free indirect discourse (FID) and then characterizes the two main directions of its research. The more traditional one, is based on the application of the three modes of speech representation to the representation of characters\u27 minds (direct, indirect, and free indirect discourse). The text interference model is an alternative to the tripartite approach. It goes back to Mixail Baxtin\u27s description of FID as a "hybrid construction" that "contains mixed within it two utterances, two speech manners, two styles, two \u27languages\u27, two semantic and axiological belief systems". The following essay examines the development of free indirect discourse (FID) in German and Russian literature
Review of Pierluigi Pellini, Tre grandi critici. Luigi Blasucci, Remo Ceserani, Francesco Orlando (Siké, 2023)
Full text linkReview of Pierliugi Pellini, Tre grandi critici. Luigi Blasucci, Remo Ceserani, Francesco Orlando. Siké, 2023.Rencesione di Pierliugi Pellini, Tre grandi critici. Luigi Blasucci, Remo Ceserani, Francesco Orlando. Siké, 2023
Eventfulness in English Narrative Fiction: A Diachronic Perspective
Full text linkThis article is a contribution to the currently expanding field of diachronic narratology, i.e. the research into possible historical and cultural changes in the practice of narration, more precisely the question of how far the various narratological categories (which as such can be considered to be universal) underlie changes in their practical application in different periods and cultures. This article focuses specifically on the narratological category of the event analyzing and comparing the practical realization of eventfulness in two periods within the history of English narrative fiction, on the one hand in the middle ages (1100-1500) and on the other in the 18th century. It can be shown that the emphasis on eventfulness in narratives varies significantly between these epochs and, also within the medieval epoch, among genres.