1,721,807 research outputs found
Il commissario Catullo : il Carme 56 in Eccetera di Emilio Tadini
Full text linkThis paper deals with Enrico Tadini’s last novel, Eccetera, and its relationship with Catullus
LVI. Tadini was a well-known painter and writer of the second half of XXth century, author of
novels, poems, dramas, critical essays. In a scene of Eccetera the narrator reports the story of a
curious experience by one of the characters. Working as carrier, he delivers a book to a couple:
the book is an old edition of Catullus’ poems and the male of the couple propose to him to an
erotic performance that reproduces the situation of Catullus’ LVI. A close reading of the re-use of
the Latin poem shows that Tadini built the scene – and all his novel – on an elaborate system of
dichotomies and oppositions: old and new, colors and white, otherness and familiarity, classical
culture and contemporary absence of culture, past and present. Such a complexity simply tries to
reflect the complexity of the real life, as the analysis of Tadini’s style confirms. The author
establishes a dialogue with the reader, that is also a way of reflecting – through the powerful lens
of humorism – on the status of the contemporary novel and on our relationships with the past
EVASIONI ALLO SPECCHIO: EVOLUZIONE E ASPETTI DELLA NARRATIVA DI ARTURO LORIA DAI PRIMI INEDITI A "LA SCUOLA DI BALLO"
Full text linkThe stories written by Arturo Loria (1902-1957) in the first half of the Twenties are mostly inedited and little studied. Through their analysis, therefore, I aim at presenting the first comprehensive research on the development of his narrative from his debut until the publication of his third and last volume, “La scuola di ballo”.
The first of the three periods in which I have divided his oeuvre comprises seventeen stories written between the end of 1920 and the middle of 1922. Displaying homogeneous characters and situations and a pervasive rhetoric of excess and delirium that connects Loria's work to the melodrama and the Gothic tales, these stories reveal in their succession a conscious design of the writer. Since the very beginning his art seems to be retreated into itself thus mirroring its condition in society.
Between 1922 and 1926, Loria develops his narrative in a coherent way. His stories are characterized by a growing process of desublimation that eventually leads to the picaresque tales of “Il cieco e la Bellona”. At the same time, he also experiments new solutions and different narrative genres.
The second chapter, divided into three parts, is dedicated to the analysis of the genesis and structure of the collections: “Il cieco e la Bellona” (1928), “Fannias Ventosca” (1929) and “La scuola di ballo” (1932). The study of archive material (edited and inedited) gives information on the volumes that is largely unknown. The analysis of the structure, for example, demonstrates that Loria aimed at creating a cohesive work: “books of stories”, and not simple anthologies. This hypothesis seems to find evidence in the transformation that the texts undergo in the passage from review to volume. Building up thick plots of connections among the different stories and giving importance to their disposition, Loria uses the structure of his work as a rhetoric device to direct the attention of the reader towards certain aspects of his narration. He also uses it to multiply and deepen the symbolic scope of his stories. Moreover, the study on the genesis of the publications leads to the identification of two distinct phases of the Lorian narrative in “Il cieco e la Bellona” and in “La scuola di ballo”, with “Fannias Ventosca” being the collection of transition.
The object of the third chapter is the in-depth analysis of the evolution of the narrative and of the poetics of the author. In it I consider the way in which similar situations and characters, in particular the meeting between the protagonist and an old lady, are repeated over and over again. The comparison of analogous elements in texts belonging to different phases highlights that this repetitive duress is referable only in part to an obsessive matrix. Indeed, the reiteration of elements often reveals the high degree of awareness with which Loria reflected on his stories and on himself through them. It is a stratagem to enshrine in his volumes both his autobiography and the “biography” of his writing technique. This incessant reflection is related ultimately to the modern conscience of the crisis of the subject and of reality: a crisis that in the first half of the Twenties manifests itself mainly in the refusal of it, while in the second phase it assumes the form of an unsolved dialectic between enchantment and disenchantment.
It is possible to find Utopian nostalgia and cruel observation of the evil especially in the ambiguous relationships that the narrators build with the grotesque characters and with the eccentric events that involve them. At a certain point, however, the adventurous plots of “Il cieco e la Bellona” disappear and the author focuses his attention on the sensations and the impressions of characters paralyzed by a castrating awareness of their own self.
In the fourth and last chapter I ponder some aspects of the evolution of his narrative mode to show how over the three volumes the voice of the narrator becomes less and less audible and how the diegesis shifts decisively into mimesis. Additionally, I underline how the modernity of contents is not mirrored in the forms of expression. Unable to conceive his own art if not in ways which Loria himself perceived as non-topical, with his stories the author seems to have constantly given life to metaphors of crisis
Donna Arte Società. Pratiche estetiche femministe dalla metà dell'Ottocento a oggi
No full textIl volume raccoglie i contributi presentati al convegno internazionale Donna
Arte Società. Pratiche estetiche femministe dalla metà dell’Ottocento a oggi
(Varese, Università degli Studi dell’Insubria, Villa Toeplitz, 7-8 marzo 2024),
organizzato in chiusura della mostra Il Gruppo “Immagine”. Una storia di
artivismo femminista da Varese alla Biennale di Venezia (Varese, Università
degli Studi dell’Insubria, Rettorato, 15 novembre 2023-8 marzo 2024) e in
occasione del cinquantesimo anniversario (1974-2024) della fondazione del
collettivo di artiste militanti.
Il nesso fra arte e femminismo è indagato secondo una prospettiva diacronica storico-tematica, in stretto rapporto con le dinamiche socio-politiche e culturali di riferimento: dall’emancipazionismo ottocentesco alle reazioni al modello femminile patriarcale fra le due guerre; dalle ridefinizioni degli anni Sessanta e Settanta − fra separatismo e differenza di genere − fino alle nuove questioni sollevate dalle esperienze della terza e della quarta “ondata”
Gestione di una rete per lo smaltimento dei rifiuti solidi: un caso nella provincia di Milano
No full text"io mi sarei potuto servire di Plinio e d'altri autori": Vasari e Plinio il Vecchio (e Paolo Giovio)
No full textThe importance of Pliny the Elder’s Naturalis Historia in Renaissance about art-historical treatises is widely acknowledged by scholars. In particular, Pliny the Elder represented a very important model in the Florentine context from Landino to Vasari. In a special way, the painter from Arezzo, author of the Vite, referred to the authority of Pliny the Elder in the Proemi, but he also recalled the role that the humanist Paolo Giovio played in the genesis of his great historiographical work. Giovio was from Como as Pliny and he built in his hometown a Musaeum of illustrious men that inspired Vasari in the arrangement of the portraits of the artists that were placed before the Vite. Vasari in particular drew from Pliny and Giovio certain elements that helped the Vite to become an indispensable model in subsequent art literature
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
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