1,720,960 research outputs found
“Salire, no, discendere agli dèi”: la navigazione mitologica in Alla cieca di Claudio Magris
No full text
Kako drugače reči "jaz": Prisotnost knjig v delih Prima Levija
Get PDFPrimo Levi’s literary production is extremely varied and cannot be limited to autobiography despite the fact that the author is primarily studied for his autobiographical works. However, his texts related to autobiography show the strongest and most consistent presence of books, which is analyzed in this article.
The beginnings of Levi’s writing can be traced to autobiographical motifs. Autobiography, which is present in a considerable part of the author’s work, is particularly connected to essays that often include autobiographical elements. Levi analyzes himself as an author as well as a reader, thus putting into practice the motto of “recognizing, analyzing, and weighing,” derived from his profession as a chemist. As a self-analyzing reader, he is a carrier of abstract notions deriving from previous readings as well as the owner of books intended as concrete objects displayed on his bookshelves. Books are his “soul companions” over various periods of his life and a conspicuous part of luggage on his wanderings through postwar Europe.
The clearest image of Levi as a reader is found in The Search for Roots: A Personal Anthology. Levi’s selection of thirty texts by other authors combines depictions of books as concrete objects, literary works, and notions permeated with autobiographical elements. The choice of excerpts, varying from literary to scientific texts, is based mostly on autobiographical motifs.
In Levi’s autobiographical texts, books and reading assume an important role in reminiscing and testifying about past events. The author also elaborates on his eclectic reading habits, inherited from his family, as well as on the way he handles books as objects. In his autobiographical narrative, books are given the same attention as other objects, people, and places, often including their titles, a physical description, the circumstances in which the author came into their possession, and the places where he read them. After Levi’s annihilating experience of imprisonment in Auschwitz, reading is also a means of returning to civilization and reacquiring the identity that the concentration camp had every intention of destroying. Levi’s “hybrid” cultura identity includes classics of Italian literature as well as chemistry textbooks, which are both important in creating the roots of the author’s identity within his family as well as within human civilization
"In viaggio verso il nulla" : elementi mitologici del viaggio in Se questo è un uomo e ne I sommersi e i salvati di Primo Levi
Get PDFPrimo Levi's Se questo è un uomo (If This is a Man) and I sommersi e i salvati (The Drowned and the Saved) present complex relations to mythological elements, which are often filtered through Dante's Divine Comedy and are inserted as key components into the autobiographical narration, thus giving it a mythological dimension. The article proposes the triangular structure Levi-Dante-Ulysses as a basis for analysing the Jewish deportees' journey towards Auschwitz as a journey towards the mythological other world
»Zgodovina ne teče naravnost, cikcakasto gre«: percepcija časa v Magrisovem romanu Na slepo
Get PDFIn his novel Blindly Claudio Magris develops a complex perception of time. This perception is intertwined with reflections on history, identity and the status of the narrative voice. History, which “is not linear” but “zigzags” is presented as a continuously repetitive phenomenon, while temporal time is impossible to measure. The status of the autodiegetic narrator becomes highly problematic as the narrative voice assumes identities belonging to various historical periods ranging from the late 18th to the 20th centuries.
The novel focuses on repressive historical periods which deform the protagonists' identities, thereby conveying an image of history as a blind and violent force. Fragmentation, one of the basic narrative techniques in the novel, concerns time sequences as well as the protagonists' identities and the narrative voice itself. As the protagonists' lives can only be narrated as fragments, there are frequent passages between different time periods. These merge into extratemporality, which is associated with eternal suffering stemming from the repetitive, oppressive nature of history. The historical events depicted in the novel are interpreted through the extratemporal dimension of the Argonaut myth
Intento de una definición genérica del poema renacentista italiano a la luz de las reflexiones teóricas de Ortega y Gasset, Lúkacs y Bajtin
Get PDFLa definición genérica de la novela o de lo novelesco es problemática tal cual, sin reparar ya en la forma histórica de la novela a la cual queremos aplicarla. Este artículo propone una contribución a la definición genérica del poema renacentista italiano de los finales del siglo XV y del siglo XVI, a base de las reflexiones de José Ortega y Gasset, Georg Lukács y Mijail Bajtin sobre la novela. La investigación se refiere a las tres obras más importantes de la épica italiana renacentista: Orlando enamorado (Orlando innamorato) de Matteo Maria Boiardo de finales del siglo XV, Orlando furioso de Ludovico Ariosto de la primera mitad del siglo XVI y Jerusalén liberada (Gerusalemme liberata) de Torquato Tasso de la segunda mitad del siglo XVI. Además han sido incluidos algunos poemas descritos en general como menores: Guirón el Cortés (Gyrone il Cortese) de Luigi Alamanni, Amadís (Ama- digi) de Bernardo Tasso, Reinaldo (Rinaldo) de Torquato Tasso – todos de la midad del siglo XVI – y Jerusalén conquistada (Gerusalemme conquistata) de Torquato Tasso de finales del siglo XVI. La base de todas estas obras es sin duda el poema caballeresco, ya que sus autores constantemente vuelven a introducir sus motivos y fórmulas estilísticas
La perfezione cavalleresca e cortigiana in "Gyrone il Cortese" di Luigi Alamanni
Get PDFIl poema Gyrone il Cortese di Luigi Alamanni risente tanto dell'influsso delle discussioni teoriche letterarie tardorinascimentali quanto del modello castiglionesco del perfetto cortigiano. L'autore si prefigge di serivere un poema ˝regolare˝ ponendo al centra del suo poema Girone, un eroe perfetto che e un modelio morale, cristiano, cavalleresco, e nel contempo un abile conoscitore di norme sociali. Pertanto, l'eroe di Alamanni oscilla tra l'essere un perfetto cavaliere e l'essere un perfetto cortigiano. Nel poema, l'amore ha una funzione duplice - nobilitante e al contempo degradante- tipica dei poemi cavallereschi rinascimentali italiani. In mancaiiza di una sintesi delle due tendenze contrastanti, la concezione dell'amore risulta incoerente, riflettendo una profonda incoerenza del concetto alamanniano dell'eroe, che esita tra i valori del cavaliere medievale, quelli del cortigiano rinascimentale e quelli dell'etica cristiana
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
- …
