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Billiani, Francesca: Culture nazionali e narrazioni straniere. Italia, 1903-1943
No full textRecensione del volume di Billiani, Francesca "Culture nazionali e narrazioni straniere. Italia, 1903-1943"
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Introduction: rupture and continuity in the Italian literary field 1926-1960
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Publishing
No full textThis chapter covers the publishing context of seven Pirandello’s novels and we argue for the importance of analysing his publishing landscape to delineate some key turning points in the evolution of the Italian publishing world and in the process of canonization of a national author. By looking at Pirandello’s publishing context, we note that if the playwright achieved international recognition while allowing himself and his theatre to become more and more experimental, the novelist instead followed a more conventional pathway towards national canonization. We show how the history of Pirandello’s choice of publishers and of their responses to his works reflects that of the Italian publishing industry: his consolidation as a national author proceeds alongside his narrative experimentations. Moreover, we details how Pirandello’s publishing trajectory followed an ascending trajectory moving from his early works appearing in literary journals, to becoming an author for the leading Milanese Fratelli Treves and for the Florentine Bemporad. Finally, we illustrate the publishing strategies through which he was consecrated as a national author with the Mondadori Ominibus, including the blessing of the Minister for Popular Culture Dino Alfieri in 1937 in the preface to the Bibliografia di Pirandello, published by Mondadori
Publishing
No full textThis chapter covers the publishing context of seven Pirandello’s novels and we argue for the importance of analysing his publishing landscape to delineate some key turning points in the evolution of the Italian publishing world and in the process of canonization of a national author. By looking at Pirandello’s publishing context, we note that if the playwright achieved international recognition while allowing himself and his theatre to become more and more experimental, the novelist instead followed a more conventional pathway towards national canonization. We show how the history of Pirandello’s choice of publishers and of their responses to his works reflects that of the Italian publishing industry: his consolidation as a national author proceeds alongside his narrative experimentations. Moreover, we details how Pirandello’s publishing trajectory followed an ascending trajectory moving from his early works appearing in literary journals, to becoming an author for the leading Milanese Fratelli Treves and for the Florentine Bemporad. Finally, we illustrate the publishing strategies through which he was consecrated as a national author with the Mondadori Ominibus, including the blessing of the Minister for Popular Culture Dino Alfieri in 1937 in the preface to the Bibliografia di Pirandello, published by Mondadori
Il testo fantasticizzato e goticizzato come metafora della destrutturazione del discorso ‘nazione’: attorno agli scrittori scapigliati
Get PDFBeginning in the late 1870s in Italy, new narrative forms, mixing elements borrowed from the Gothic and fantastic genres and modes with those from historical realism, started to enjoy much greater success and to find more followers and practitioners. More specifically, at the margins of an already existing hypothetical historical-realist narrative block, heterodoxical narrative expressions were coming into being. These were often populated by physically dismembered and psychologically multi-faced ‘in-between’ characters, who were traditionally depicted through Northern European forms of the Gothic and fantastic, until the leading members of the first Italian avant-garde movement, the Milanese Scapigliatura, transplanted their interpreations of the story of Italian national unification into their short stories and novels. In the texts analyzed, the use of the typically Gothic and fantastic motifs of the uninhabited house (or habited by ghosts) and the feminine body, both in its phenomenology of the mother, nurse and spouse, and in that of the faithless, fallen and sick woman, function as metaphors to portray the shape of the national body. By looking at the representations of the house, the female body and marriage, this article demonstrates how the heroines of the post-unification novels Fosca (1869) by Iginio Ugo Tarchetti and Senso (1883) by Camillo Boito understand and construct their corporeality as the epistemological locus where the ethical ambivalence towards the disappointing outcomes of national unification could be expressed. Therefore, the Gothic with its instances of social subversion embodied in the heroines in the castle, and the fantastic with its ontology of ‘hesitation’ and of the fragmented and divided body could offer the ideal narrative solution for portraying the failure of Italy’s palingenetic re-birth during the Risorgimento
'Baroquemania: a counter-rationalist history of Italian art'. Review of: Laura Moure Cecchini, Baroquemania: Italian Visual Culture and The Construction of National Identity, 1898-1954, Manchester: Manchester University Press, 2021, 288 pp., 93 col. Plates, £ 80, ISBN 9781526153173.
Get PDFThis review discussed the emergence of the Baroque in Italian visual arts as analysed in the book Baroquemania by Laura Moure Cecchini. In this book, the author shows how the baroque is a key element of the history of post-unification Italy which has been often neglected by the relevant scholarship on the matter. By reinscribing the Baroque within the Italian national paradigm, the book contributes to rewrite an important chapter of the history of Italian art in order to question its own foundational premises of an entirely rational strive to become a modern nation-state. In this way, Baroquemania represent an important addition to the existing scholarship on the relationship between the arts and the construction of national identity
Delusional identities: The politics of the Italian Gothic and fantastic in Igino Ugo Tarchetti's Trilogy Amore nell'arte and Luigi Gualdo's Short Stories, "Allucinazione", "La canzone di Weber" and "Narcisa"
Get PDFThis article builds on Homi Bhabha's argument that, although a sort of central linear writing expresses a sense of nationhood, writing the story of a nation demands the articulation of a type of ambivalence frequently associated with the uncanny process of the doubling of the self. This ambivalence is voiced through discourses on the dialectic between reason and unreason, and articulated through the representation of deviant sexual desire towards women. In the context of their Italian reception after national unification in 1861, the Gothic and the fantastic were used by writers belonging to marginal literary environments both to challenge representations of femininity against the rules of a patriarchal society, and to voice their disillusionment with the social and political results of the perceived "failed and disjointed" unification. This article analyses representations of women, understood as metaphors of the nation, and men, seen as silenced bards of the new nation, in key texts of the period: Amore nell'arte by I. U. Tarchetti (1869) and Luigi Gualdo's short stories, "Allucinazione", "La canzone di Weber" and "Narcisa" (1868). In these texts, the female protagonists are depicted as women who fail to adjust to the rules set by the new middle classes responsible for guiding ethically, ideologically and socially the newly-formed nation, while men are seen as unable to sustain any social unity, and as being driven rather by necrophilic instincts towards the female. © The Author (2008). Published by Oxford University Press for the Court of the University of St Andrews. All rights reserved
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