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STRATEGIE NARRATIVE DANTESCHE IN SALVATORE SATTA
No full textThe essay analyses Dantean references in Salvatore Satta's “Il giorno del giudizio”, investigating in particular the meanings of the “catabasis” in the memorial spaces and the ways of representing any single character's story. In a synchronic perspective – that of doomsday – it's up to the author to select what is meaningful and gives sense to an entire life. Something must be left out, but what is distilled, the synthesis, can become writing only after life – which is nothing but an ephemeral prefiguration – have found in death its reality and its fulfilment: Satta's writing becomes the where and when of the judgment. In the novel, however, there is no distinction between the damned and the blessed, there is no salvation nor redemption: in “Il giorno del giudizio” the protagonists will be “absolved or condemned” all together, and their “ridiculous god” with them. Salvatore Satta retains the Christian sense of the original sin, but denies the possibility of salvation. The souls in Nuoro recognize in the judgment the moment when their convulsive motion ceases. The “ridiculous god” is the author precisely for immortalizing them through the force of writing, embodying them in his writing and so putting an end to the circle in which their lives were imprisoned. Writing delivers them from sin and from the law: the judgment at last takes place
Introduzione
No full text"La madre", one of Grazia Deledda most concise novels, is a work which widely reveals the skill of the author both in composing narrative devices and in arranging in the text symbols and other equivocal signs, and is probably the most significant and mature proof of the difficulty in labeling the writer into a specific literary movement. In the novel, special attention is deserved by the interferences with the Holy Scriptures, contaminated with elements of a pagan origin, so that the plot can be read as a disturbing and ambiguous parable. The voice of the people multiplies the perspectives and interweaves the tales, each one an apocryphal gospel. The reasons of good and the necessity of evil, the conflict between instinct and ethic, are the real narrative engine: no redemption is possible without expiation, and expiation necessarily leaves a legacy of solitudes – a canonical scheme in Deledda's works. More than the clash of the characters, the representation of the intimate contraddictions that agitate figures otherwise motionless
Un crocevia di generi e forme: il graphic novel di Gipi incontra la finzione post-apocalittica
Full text linkLa terra dei figli is a graphic-novel which consciously encounters post-apocalyptic fiction. Gipi offers his readers a narration of the world written beyond the end of the world and engages in a type of story that is among the most popular of recent times: post-apocalyptic fiction, which is perhaps the most suitable literary and cinematographic genre to entertain a "political" dialogue with his audience. The author works with the typical tools of comics and yet engages with archetypes that no longer belong only to the apocalyptic fiction, but to the fairy tale and the coming-of-age novel.La terra dei figli è un graphic-novel che incontra consapevolmente la finzione post-apocalittica: Gipi propone ai suoi lettori un racconto del mondo vergato oltre la fine del mondo, inserendosi in un ambito fra i più popolari degli ultimi decenni ‒ forse il genere letterario e cinematografico con la più spiccata tendenza a intrattenere con il pubblico un discorso “politico”. L’autore lo fa in modo originale, con gli strumenti tipici del fumetto, confrontandosi tuttavia con archetipi che non appartengono più solo alla finzione apocalittica, ma alla fiaba e al racconto di formazione
Divagazioni intorno a un capolavoro della letteratura sarda: Il giorno del giudizio di Salvatore Satta
Full text linkA rereading of Salvatore Satta's masterpiece that highlights the narratologically discriminating strategies and turning points: the plane of intertextual relations, which humorously relates the great European History and the small stories of the Nuoro village in the late 19th and early 20th centuries; the path in which the author engages autobiographically: a catabasis with no possibility of anabasis; the construction of the characters, starting certainly with the contrast between Don Sebastiano and Donna Vincenza: but more generally, conforming in a sense to Dante's lesson, Satta preserves the originality of each individual figure. Of each character he exalts the individual affair, the dramatic and unrepeatable development. Salvatore Satta is their "ridiculous God" because, at the moment he arouses them and even eternalizes them by embodying them in Scripture, he ends their movement, the circle that imprisoned their existence. Scripture frees them from sin and the law; it is the judgment that is finally fulfilled.Una rilettura del capolavoro di Salvatore Satta che mette in luce le strategie e gli snodi narratologicamente discriminanti: il piano delle 'interferenze' intertestuali, il quale pone in relazione umoristicamente la grande Storia europea e le piccole storie del borgo nuorese tra fine Ottocento e inizio Novecento; il percorso in cui è autobiograficamente impegnato l’autore: una catabasi senza possibilità d’anabasi; la costruzione dei personaggi, a partire certo dalla contrapposizione fra Don Sebastiano e Donna Vincenza: ma più in generale, conformandosi in un certo senso alla lezione dantesca, Satta preserva l'originalità di ogni singola figura che, emergendo dalla comunità cui appartiene indissolubilmente, si affaccia ora sulla pagina. Di ciascun personaggio esalta la vicenda individuale, lo sviluppo drammatico e irripetibile. Salvatore Satta è il loro «Dio ridicolo» perché, mentre li suscita e perfino li eterna, incarnandoli nella scrittura, pone fine al loro movimento, al circolo che imprigionava la loro esistenza. La scrittura li libera dal peccato e dalla legge, è il giudizio che finalmente si compie
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