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Nell'officina di un reporter di fine Ottocento: gli appunti di viaggio di Edmondo De Amicis
No full textScrittura in continua oscillazione tra codice soggettivo e oggettivo, le note di viaggio
sembrano configurarsi per natura come un 'apografo' dell'esperienza. Se, poi, il loro autore si
avvicina ad esse in veste di inviato speciale, sempre in parten2a su richiesta del lettore o
dell'editore, il loro rapporto con il vissuto del viaggio è destinato ad assumere caratteri ancor più complessi e stratificati.
Da questo punto di vista, la ricerca che abbiamo condotto su alcuni dei quaderni di appunti
di Edmondo De Amicis viaggiatore e reporter sembrano fornire significative chiavi di lettura per
comprendere procedimenti e motivazioni di questo genere di testi.
Le nostre indagini si sono svolte principalmente nelle Biblioteche Civiche e Nazionali di
Venezia, Torino e Firenze dove si sono rinvenuti oltre ai riferimenti teorici, metodologici e
archivistici della tesi, numerosi autografi, prime edizioni di opere e diversi carteggi. Le visite più assidue, però, sono state compiute presso la Biblioteca Civica «Leonardo Lagorio» di Imperia che, conservando un Fondo interamente dedicato allo scrittore, si è confermato il luogo più adatto per una ricerca che mirasse ad esplorare i vari livelli di scrittura con cui l'autore ha dovuto
confrontarsi nell'elaborazione dei suoi reportages.
Dei quaderni qui selezionati per l'analisi abbiamo descritto e trascritto parzialmente Ms.
E.D.A. 18 e 20, dedicati al viaggio in Marocco (1875), Ms. E.D.A. 19 e 21 utili ad una
ricostruzione del soggiorno argentino del 1884; ad essi appare cronologicamente e strutturalmente
legato Ms. E.D.A. 26, contenente note stilate durante il viaggio in piroscafo verso il Sud
America, da cui poi De Amicis trasse le pagine de Sull'Oceano (Milano, Treves, 1889). Distinto da
essi per finalità e scrittura appare Ms. E.D.A. 3 (Note per La Carrozza di tutti), fascicolo di appunti rappresentanti una fase già successiva della scrittura di "diario", utilizzati per il romanzo-reportage La carrozza di tutti (Milano, Treves, 1899).
Tali autografi sono stati scelti tra gli altri come i più rappresentativi dei processi di
creazione e di evoluzione della scrittura di viaggio deamicisiana, letta come cartina di tornasole di alcune delle principali modalità di realizzazione del genere del reportage in un periodo, quale
l'ultimo trentennio del secolo XIX, in cui esso realizzò un rilevante sviluppo storico e letterario.
A sottolineare tale prospettiva abbiamo ritenuto opportuno allegare io appendice un catalogo dei libri di viaggio letti da De Amicis, attualmente conservati presso lo Studio De Amicis ad Imperia-Porto Maurizio, con una breve premessa sul rapporto dell'autore con le fonti.
L'esperienza si è rivelata un interessante itinerario attraverso le letture dello scrittore ligure,
nell'esplorazione delle chiose che egli usava apporre a margine, oltre che nella produzione del
genere tra la fine del XIX e gli inizi del XX secolo.
La descrizione, la datazione e la trascrizione delle carte selezionate si accompagnano nella
tesi ad un esame della genesi delle scelte stilistiche nel confronto delle note autografe con l'opera a stampa, di cui vengono riportati a pié di pagina campioni significativi e ricorrenti quando funzionali all'indagine sul testo. Tale corpo analitico è stato inserito tra una presentazione di carattere teorico-descrittivo dei quaderni di viaggio valutati nel contesto della situazione complessiva del Fondo «De Amicis» e un capitolo conclusivo di osservazioni sulla scrittura di viaggio dell'autore con riferimento al processo compositivo della sua opera narrativa e saggistica.
La lettura delle note ha consentito di evidenziare differenze e somiglianze strutturali dei
quaderni e delle opere e, insieme, di misurare un progressivo spostamento ideologico e narratologico
spesso corrispondente, se non talvolta coincidente, a quello rilevabile nella lettura dei testi a stampa.
Nella totalità dei casi analizzati, l'autore procede ad un'annotazione aneddotica degli eventi,
raccoglie in forma diretta exempla di conversazione ai quali appone varianti e correzioni, seleziona
accuratamente gli argomenti, il loro ordine e la loro frequenza: tale forma, che egli restituisce
nell'opera compiuta, rivela un'inclinazione crescente a preordinare il modello dell'esperienza e la
preoccupazione costante di mantenere alta l'attenzione del pubblico ricorrendo a toni conversevoli
anche alle pagine più didattico-divulgative.
Evidenziare il processo di costruzione del testo e di emissione del messaggio all'interno del
laboratorio dello scrittore, nella continua oscillazione tra scrittura intima e scrittura pubblica
imposta dalla natura stessa delle note, ci è sembrata una strada opportuna a chiarire i nodi della
ricezione dell'opera deamicisiana, a scoprire le dimensioni dell'intenzionalità ed una più nitida
considerazione del suo esito letterario anche in rapporto al pubblico dei lettori.
Si è potuto, infine, per questa via accertare come la scrittura di De Amicis risulti collocarsi
all'incrocio tra un nuovo interesse per soggetti di carattere sociale ed una nuova attenzione
stilistica e costruttiva del testo che condurrà in ambito italiano ad un rinnovamento del genere del
reportage destinato a vedere un ricco stuolo di seguaci divisi tra una scrittura sempre più incline
all'aneddoto e al frammento lirico, definita di sapore "pre-rondista", da un lato, ed una più incline al sociale, promossa dal reportage d'inchiesta, dall'altro, secondo modalità che si riveleranno fertili sin dentro e oltre il secolo XX.
L'indagine che abbiamo svolto si colloca tra filologia e analisi del testo, nell'idea che
attingere dall'unione di queste discipline possa rivelarsi criticamente proficuo nello studio di testi come quelli rappresentati dai quaderni deamicisiani. Raccolte di note e appunti preliminari,
anteriori all'esistenza dell'opera letteraria compiuta si possono, a nostro avviso, rivelare utili sia ad una lettura diacronica, nel rapporto con il testo definitivo destinato alla pubblicazione, sia ad una lettura sincronica nella considerazione autonoma della loro composizione. A tali scopi i quaderni esaminati si prestano efficacemente, anche per la natura delle opere che ne derivano, di cui tali autografi rappresentano una sorta di officina, a volte fumosa e rumorosa, nella quale, osservando strumenti e processi in atto, diventa possibile seguire la costruzione in fieri del testo.
Travel notes are a way of writing that always alternates between a subjective and an
objective code and is by nature 'apograph' of the experience. If their writer approaches them as a
reporter whose travel begins for the reader's or the editor's request then the borders of this
sort of writing show more complex characteristics.
From this point of view Edmondo De Amicis' experience as a traveller and reporter seems to offer some interesting clues for this genre.
The research about some notebooks written by De Amicis has been carried on at Florence, Turin and Venice Civic and National Libraries but mainly at the Civic Library of Imperia called «Leonardo Lagorio», where an archive entirely dedicated to the Italian writer is preserved. The Archive has been the most suitable place to inquire the different levels of writing which De Amicis had to explore creating his travel reportages.
After an exam of the history and of the validity of the autographs, we have proceeded to the analysis of some selected manuscripts of the Archive. Among the notebooks conserved at Imperia we have studied and partially transcribed Ms. E.D.A 18 and 20 dedicated to the travel to Morocco (1875) and Ms. E.D.A. 19 and 21, that deal with the travel to Argentina (1884); linked with them, another notebook, Ms. E.D.A. 26, which contains notes about the journey in a steamboat toward South America, which inspired the pages of his On the Ocean (Milan, Treves, 1889). Different for finalities and kind of writing is Ms. E.D.A. 3 (Note per La Carrozza di tutti), a series of notes representing a phase of writing that follows the 'diary book'.
These autographs have been chosen because they better represent how De Amicis created and developed his travel reportages, and are a significant example of reportage techniques, a genre that reached an important literary and historical development in the last thirty years of 19th century.
It has also been useful, to stress this perspective, to enclose in the Appendix a catalogue of
travel books kept in the personal library of the author, today at Centro Polivalente at Porto
Maurizio-Imperia, with a short introduction about the relationship between the Italian writer and
his sources. The experience has been an useful journey through the writer's readings, through the
notes he used to write on their margins and through the production of travel books between the
end of 19th century and the 20th century.
The description and the dates of the hand-written and printed works and the transcription of the selected papers go together with an analysis of the stylistic and linguistic choices and their evolution, through a comparison of the notes with the printed work. At the bottom of the page are registered some significant and recurring examples from the volume. This analytical part has been inserted between a theoretical and descriptive part about the notebooks of the archive and a conclusive chapter about the author's travel writing techniques in the context of his entire literary production.
The reading of the notes has shown structure differences and similarities with the printed works and how their stylistic and ideological evolution often corresponds and sometimes coincides.
In the examples registered, the author usually retells the events in an anecdotal way he rarely prefers to describe them ; he reports in the direct form some conversations, that he often corrects on the pages of the manuscripts; he carefully selects the subjects, their order and frequency, revealing an inclination to prearranged patterns of experience. The anecdotes and the reporting of direct speeches allow him to avoid the tendency to write an 'essay', and to maintain high the reader's attention, keeping talkative tones also in didactic pages.
The analysis of text structuring and of emission of the message in the writer's workshop, that alternates between intimate and public writing imposed by the nature of the notes, helped to enlighten the keys of the reception of De Amicis' production, to discover its intentions, and to
consider the literary results also referring to the editorial market and the readers.
De Amicis's writing lies between a new interest in social subjects and a new stylistic and structural attention to the text which will have some important consequences in renovating the
reportage technique in the Italian literature. In the 20th century the genre will develop on one side to the anecdote and the lyrical fragment and on the other to the social enquiry.
The research shifts between philology and text analysis, with the persuasion that an interdisciplinary study could be efficacious for this kind of texts. Notes and journals that precede
the printed work appear a diachronically and synchronically productive reading, establishing a
relationship between notes and the accomplished text on one side and an autonomous reading of
the handwriting on the other. For this aim the selected texts reveal proceedings, instruments and
the birth of the work
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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