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Modi e processi della conoscenza in Primo Levi: intuizione puntiforme, invenzione ed empatia
Full text linkThe essay consists of two independent yet intimately connected sections. It investigates two different aspects of Primo Levi\u27s work. The former one focuses on the conceptual categories of \u27seeing\u27 and \u27inventing\u27 in the creative process of literary \u27creation\u27, which takes the form of a rhetorical operation of inventio and dispositio of punctiform intuitions. The latter inquires the role played by empathy in Primo Levi’s works.L’articolo consta di due parti indipendenti l’una dall’altra ma intimamente connesse nella loro genesi ideativa, che indagano due diversi aspetti dell’opera di Primo Levi. La prima si sofferma sulle categorie concettuali del ‘vedere’ e dell ‘inventare’ nel farsi della ‘creazione’ letteraria che si configura come un’operazione retorica di inventio e dispositio di intuizioni puntiformi. La seconda propone una riflessione sul ruolo ambivalente che l’empatia svolge nell’intera produzione di Primo Levi
Guerra in camicia nera di Berto: una possibile lettura postcoloniale
Full text linkPostcolonial studies have known their fortune in Italy in the recent past, and publications demonstrate a fertile growth of interests and fields of investigation, accompanied by a constructive discussion of a theoretical nature.
Starting from the idea that the great literary works are never an expression of the sole culture of domination - conservative and subversive at the same time - the article offers a contribution within the postcolonial critique by examining Giuseppe Berto\u27s Guerra in camicia nera. Written by those who, at least in the first phase, openly sided with fascism, this fictionalized diary deviates from the fictional texts of propaganda to show, in formal choices, the ambiguity of meaning in relation to uniquely ideological discourses.Se gli studi postcoloniali conoscono la loro fortuna in Italia in un passato recente, le pubblicazioni dimostrano un fertile ampliamento degli interessi e dei campi d’indagine, accompagnati da una costruttiva discussione di carattere teorico.
A partire dall’idea che le grandi opere letterarie non sono mai espressione della sola cultura del dominio – conservatrici ed eversive allo stesso tempo – l’articolo offre un contributo all’interno della critica postcoloniale prendendo in esame Guerra in camicia nera di Giuseppe Berto. Scritto da chi, almeno in una prima fase, si è schierato apertamente con il fascismo, questo diario romanzato si discosta dai testi finzionali di propaganda per mostrare, nelle scelte formali, l’ambiguità di senso rispetto ai discorsi univocamente ideologici
Il mito dell’enciclopedia aperta: Centuria, un (meta)romanzo ‘a orologeria’
Full text linkCenturia, Giorgio Manganelli’s metafictional novel published in 1979 is an open encyclopaedia (in the words of Italo Calvino), a textual structure which springs both from an epistemological skepticism and a more problematic compositional strategy of literary creation. The open encyclopaedia is built on the balance between two opposing forces: a centrifugal force, that unleashes an endless proliferation of stories; and a centripetal force, which organize them within a structure. The main purpose of this essay is to examine in detail these two opposite poles, focusing first on the connection between Centuria and reference books (such as dictionary or encyclopaedia); then on the detection of particular ‘pluralization mechanisms’ including: the re-use of previous narrative material, the frequent hypothetical and conjectural speech, the potential facet of narrated events, lastly the reoccurrence of three crucial and meaningful concepts, namely the list, the scheme and the catalogue.Centuria, il metaromanzo di Giorgio Manganelli apparso nel 1979, è (usando le parole di Italo Calvino) un’enciclopedia aperta. Scaturita al tempo stesso da un evidente scetticismo epistemologico e da un’idea di elaborazione letteraria più problematica, l’enciclopedia aperta si regge sull’equilibrio precario tra una forza centrifuga, fonte di una pluralità di storie e vicende potenzialmente infinite; e una forza centripeta, che si occupa al contrario della loro sistemazione all’interno di una rigida struttura. Questo saggio si propone di isolare i due poli di questo congegno narrativo paradossale, rispettivamente mettendo a fuoco: per le forze strutturanti, il rapporto con alcune opere di consultazione (dizionario, enciclopedia); per le forze disgreganti, la ricorrenza di specifici ‘meccanismi di pluralizzazione’ narrativa quali il ri-uso di materiale mutuato da opere precedenti, un’istanza enunciativa ipotetica e congetturale, la predilezione per i temi dell’attesa e della potenzialità degli eventi, e infine la ricorrenza dei concetti di elenco, schema e catalogo
Recensione di Giuseppe Episcopo e Sara Sullam (a cura di), Ascolto (Biblion, 2022)
Full text linkReview of Episcopo, Giuseppe and Sara Sullam (eds.), Ascolto (Biblion, 2022) Recensione di Giuseppe Episcono e Sara Sullam (a cura di), Ascolto (Biblion, 2022)
Boris Kazansky: Rhetoric and Poetics in Lenin\u27s Discourse
Full text linkBeing sharp and characterized by well-marked distinctive features, Lenin’s style was, for the Formalists, a crucial ground for applying their theories to the most contemporary issues. Particularly indicative in this respect is issue 1(5) of the LEF magazine, published in 1924 and devoted to Lenin’s language. It includes also an article by Boris Kazansky, a multifaceted personality, trained as a classicist; for him, the classical rhetoric and oratory, rethought from the perspective of the present, became the key to addressing Lenin’s discourse and its devices, as well as a fundamental object of dialogue with the members of OPOJaZ grappling with a necessary opening of theoretical and methodological horizons. The aim of this contribution is to present for the first time to the Italian reader the author, who is still little known, and to analyse his 1924 article, comparing it with a shorter text from 1939 on the same subject but built with a very different approach. A translation of both texts, never published before in Italian, is presented in the appendix.Lo stile di Lenin, incisivo e dai tratti distintivi ben marcati, è stato per i formalisti banco di prova e di confronto fondamentale per applicare le proprie teorie alla contemporaneità più stringente. Particolarmente indicativo, a questo riguardo, è il numero 1(5) di LEF, uscito nel 1924 e dedicato alla lingua di Lenin. Vi partecipa anche Boris Kazanskij, personalità poliedrica, antichista di formazione, per il quale proprio la retorica e l’oratoria classiche ripensate nella prospettiva del presente divengono chiave di accesso e di analisi del fenomeno del discorso leniniano nonché fondamentale oggetto di dialogo con i membri dell’OPOJaZ alle prese con una necessaria apertura degli orizzonti teorici e metodologici. Obiettivo di questo contributo è presentare per la prima volta al lettore italiano l’autore, ancora poco studiato, e analizzarne l’articolo del 1924, confrontandolo poi con un più breve scritto del 1939 dedicato allo stesso argomento ma di impostazione ben diversa. Di entrambi i testi, inediti in italiano, si presenta in appendice la traduzione
The Three Jakobsons: Notes Towards a Historical Analysis of Roman Jakobson\u27s Contribution to Twentieth-Century Literary Theory
Full text linkRoman Jakobson (1896-1982) is not currently a highly cited author in the field of literary studies. Along with other inescapable names of the heyday of structuralism, he has fallen into relative oblivion. Although he undoubtedly continues to be recognized as one of the giants of the Human Sciences during the 20th century, his theoretical conceptions and methodological proposals find limited applicability and have been subjected to severe objections by leading contemporary scholars. However, there is ground to believe that this neglect arises from the fact that his entire output has been reduced to the essentialist positions of his later North American period. In this paper, we contend that Jakobson´s ideas belonging to the earlier periods of Russian formalism and Czech structuralism have been all to often overlooked, and might have a revitalizing and stimulating impact on contemporary disciplinary discussions
Reflection of Political and Social Influences on the Ghazal Genre in Azerbaijani Literature in the 20th Century: Aliagha Vahid\u27s Literary Works
Full text linkThe essay focuses on the problems that hindered the ghazal genre from developing and how the poet kept the tradition alive in Azerbaijani literature at the start of the 20th century. We used Aliagha Vahid’s literary creativity for our project since he lived through this period in Azerbaijan, experienced all of its hardships, and demonstrated the genre’s potential by creating poetic imagery of the time in his ghazals. He is an Azerbaijani poet who is revered in the Turkic community as Fuzuli’s successor and is credited with saving the ghazal genre in Azerbaijani literature. Analyzing his lyrics provided excellent possibilities to examine the influential factors on all of the Azerbaijani literature at the time. In the study, his creation of new kinds of ghazals with social and political issues while retaining the characteristics of the traditional ghazal genre was investigated. With him, the genre in Azerbaijani literature underwent a new phase. The attempt to eradicate the ghazal from the Azerbaijani literature which has a history of centuries –long history did not succeed as a result of mostly Aliagha Vahid’s serious efforts. For this purpose, the poet’s historical milieu, the challenges of the repression, his satirical ghazals with a sociopolitical theme, the thematic details of his lyrics, and other issues have been involved in the investigation
One Hundred Years of Surrealism – despite Schuster? Dominant Paradigm, ‘Historical’ Criticism and Critical History after 1969
Full text linkUn spectre hante la critique : le spectre du surréalisme. Toutes les puissances de la vieille critique se sont unies en une alliance sacrée pour traquer ce spectre : le « pape du surréalisme » et Sartre ; Nadeau et Schuster ; les Surréalistes Révolutionnaires et les Situationnistes. Quelle opposition, parmi ses adversaires, ne l’a pas accusé d’être dépassé, voire trépassé de son vivant ? Laquelle, à son tour, n’a pas renvoyé à ses adversaires de tout acabit l’épithète infamante de surréaliste ? Il en résulte un double enseignement. Déjà le surréalisme est reconnu comme une puissance par toutes les puissances de la critique. Et donc, il vaut mieux le rabattre au conte du spectre, en dépit des expressions concrètes que les surréalistes de diverses nationalités exposent à la face du monde entier. La critique historiographique du surréalisme – méconnu après 1969 – requiert une approche critique comparée de son paradigme dominant.A spectre is haunting criticism: the spectre of surrealism. All the powers of old criticism have entered into a holy alliance to exorcise this spectre: the “pope of surrealism” and Sartre; Nadeau and Schuster; the Revolutionary Surrealists and the Situationists. Which opposition, among his opponents, had not accused it of being outdated, or even dead during its lifetime? Which one, in turn, had not hurled back the branding reproach of surrealism to its opponents of all kinds? Two things result from this fact: I) Surrealism is already acknowledged by all the powers of criticism to be itself a power. II) Thus, it is better to reduce it to the tale of a spectre, despite the concrete expressions that the surrealists of various nationalities expose to the whole world. The historiography criticism of surrealism – this one remaining little known after 1969 – requires a critical comparative approach to the dominant paradigm
Boundaries and Transgressions: Freud\u27s and Lacan\u27s Decisions and Indecisions
Full text linkThe main thesis of this article is ‘no identity without boundaries’. It is therefore necessary to question identity, in the awareness that it is a polysemic notion: first of all, two modes of identity are distinguished, coincidence (the undivided subject) and non-coincidence with oneself (the divided subject). This distinction is essential for understanding the difference between ideology and theory: identity politics is merely an ideology of identity; and like any ideology it is schematic, dogmatic, and extremely poor. This is why it only deals with the simplest forms of subjectivity, which we can define by properties (woman, black, etc.) or by parts. One of the aims of this article is to show the philosophical backwardness, which is also political backwardness, of identity politics. The way to complexity is then indicated, first and foremost through psychoanalysis. However, Freud’s revolution (Group Psychology, 1921) was not understood by Lacan. The conception of a divided and flexible subject could be developed, on the one hand, by going beyond Lacanian scholasticism and, on the other hand, by exploring the strategic dimension, which continues to be ignored by theories of the event as well as those of the institution.La tesi principale di quest’articolo è ‘nessuna identità senza confini’. Risulta perciò necessario interrogarsi sull’identità, nella consapevolezza che si tratta di una nozione polisemica: vengono distinti anzitutto due modi dell’identità, la coincidenza (il soggetto indiviso) e la non-coincidenza con se stessi (il soggetto diviso). Questa distinzione è essenziale per comprendere la differenza tra ideologia e teoria: l’identity politics è soltanto un’ideologia dell’identità; e come ogni ideologia è schematica, dogmatica, ed estremamente povera. Ecco perché si occupa unicamente delle forme di soggettività più semplici, e che possiamo definire mediante proprietà (donna, nero, ecc.) oppure mediante parti. Uno degli obiettivi di quest’articolo è mostrare l’arretratezza filosofica, che è anche arretratezza politica, della identity politics. Viene poi indicata la via della complessità, anzitutto tramite la psicoanalisi. La rivoluzione di Freud (Psicologia delle masse, 1921) non è stata però compresa da Lacan. La concezione di un soggetto diviso e flessibile potrà venir sviluppata, da un lato, andando oltre la scolastica lacaniana e, dall’altro, esplorando la dimensione strategica, che continua a venir ignorata dalle teorie dell’evento così come da quelle dell’istituzione
Brodskij a Firenze: An Unpublished Poem by Mario Luzi
Full text linkL’articolo si propone di presentare una poesia inedita di Luzi, rinvenuta in uno dei suoi quaderni personali, attualmente conservati al Gabinetto Vieusseux. Il componimento, intitolato Brodskij a Firenze, risale al 1995 e rappresenta la risposta dell’autore alle critiche rivoltegli da Brodskij durante la sua visita a Firenze, nella primavera dello stesso anno. Il primo paragrafo delinea il retroscena dello scontro tra i due protagonisti, che consiste nel tentativo portato avanti da Luzi di promuovere la sua opera in Svezia, attraverso l’editore Oreglia, nella speranza di vincere il Nobel. Il secondo paragrafo racconta le varie fasi della disputa: l’arrivo di Brodskij in città, le accuse da lui mosse al collega italiano di nutrire aspirazioni eccessive verso il premio svedese, la replica di Luzi sui giornali e le reazioni pubbliche e private che seguirono. Infine, nel terzo paragrafo, l’inedito viene presentato, descritto filologicamente e sottoposto a un’analisi critica.The article aims to present an unpublished poem by Luzi, discovered in one of his personal diaries, currently held at the Gabinetto Vieusseux. The poem, titled Brodskij a Firenze, dates to 1995 and serves as Luzi’s response to the criticism made by Brodskij during his visit to Florence in the spring of that year. The first paragraph delineates the background of the conflict between the two protagonists, which can be traced back to Luzi’s endeavor to promote his work in Sweden through the publisher Oreglia, with the hope of achieving the Nobel Prize. The second paragraph chronicles the various phases of the dispute: Brodskij’s arrival in the city, his accusation at the Italian colleague of harboring excessive aspirations for the Swedish prize, Luzi’s responses in newspapers, and the ensuing public and private reactions. In the third paragraph, finally, the unpublished poem is presented, explicated philologically, and subjected to critical analysis