1,720,970 research outputs found
Infanzia e fantasmi. La forma-racconto in Michele Mari
No full textThis article focuses on Michele Mari’s short-story production.
Throughout his collections, from Euridice aveva un cane (1993) to Fantasmagonia (2012), and especially in Tu, sanguinosa infanzia (1997), the author has created a fruitful dialogue of themes and styles by alternating the writing of short stories with the realization of novels and poems.
The effort to keep the past alive in the memory and in material objects, and the materialization of literature-inspired obsessions are the main axes of Mari’s narrative, despite the changes in form and in mode of expression.
We thus aim to explain how, by taking advantage of the narrative peculiarities of the short story form, Mari has succeeded in concentrating and deepening the literary reflections about a childhood imaginary whose dimension is always private and collective at the same time
L'autofiction italienne, enjeux, frontières, limites
No full textThis article discusses the topic of autofiction in Italy trying, through the analysis of particular literary forms that this tradition has produced, to investigate the specificity that it has acquired over the past thirty years. The purpose is to verify issues, boundaries and limits of this narrative practice as a new form of writing in relation to the specific Italian context.
Writers who have ventured in a so hazardous narrative form are heterogeneous and sometimes opposite in terms of age, style and ambition, so we can verify the reasons for a choice that, more or less consciously, turns required. By comparing the texts in which an autofictional device is set up, we will point out a common intention to authors: representing the contemporary Italian society and its anthropological mutations.
So, it seems that at a certain point this new device, imported from France in a vague and approximate way, was more powerful than conventional narrative forms to understand current Italy. However, from when can we talk about autofiction in Italy? Are there some significant precedents in the novelistic production of the twentieth century? Also, are the liberties taken by writers always needed? In reviewing the proto-autofictional texts of the Italian novelistic tradition of the past thirty years, we will try to show forms and themes specific to the national context, as well as their potential and their limits.
The inherent ambiguity of the voice that enounces the story reveals unprecedented potential for Italian writing, but also a dangerous risk. Infact, the author who tell about himself through narrative writing has to be aware that this means not only to change facts but also to reinvent the perception of himself and of the world in which he lives.Cet article aborde le sujet de l'autofiction en Italie en essayant, à travers l'analyse des formes littéraires particulières que cette tradition a produites, d’enquêter sur la spécificité qu'elle a acquise au cours des trente dernières années. Il s'agira donc de vérifier les enjeux, les frontières et les limites de cette pratique narrative en tant que forme d'écriture nouvelle par rapport au contexte spécifique italien.
Si les écrivains qui se sont risqués dans une forme de narration si hasardeuse sont hétérogènes et parfois opposés quant à leur âge, leur style, leur ambition, il est possible de vérifier les raisons d'un choix qui, de façon plus ou moins consciente, s'avère obligé. En comparant les textes dans lesquels
est mis en place un dispositif autofictionnel, nous dégagerons une intention commune aux auteurs: représenter la société italienne contemporaine et ses mutations anthropologiques.
Il semble donc qu'à un certain moment ce nouveau dispositif importé de France de manière vague et approximative était plus efficace que les formes classiques de narration pour saisir l'Italie d'aujourd'hui. Toutefois, à partir de quand pouvons-nous parler d'autofiction en Italie? Y-a-t-il des précédents significatifs dans la production romanesque du XXe siècle? De plus, les libertés que les écrivains prennent sont-elles toujours nécessaires? En passant en revue les textes proto-autofictionnels de la tradition romanesque italienne des trente dernières années, nous essayerons de montrer les formes et les thèmes propres au contexte national, ainsi que leurs potentialités et leurs limites.
L’ambiguïté intrinsèque de la voix qui énonce le récit révèle une potentialité inédite pour l'écriture italienne, mais aussi un risque redoutable. Il faut être conscient que se raconter à travers l'écriture narrative signifie non seulement modifier les faits mais aussi réinventer la perception qu'on a de
soi-même et du monde que l'on habite.
Ainsi, le mensonge narratif, c'est-à-dire la fiction, peut-il dire la vérité mieux que n'importe quel récit factuel
Finzione e verità in Spaesamento di Giorgio Vasta
No full textRiflessione su Spaesamento di Giorgio Vast
Una pericolosa forma di conoscenza: il genere romanzo secondo Walter Siti
No full textRiflessione intorno al saggio "Il romanzo sotto accusa" di Walter Sit
L'autofiction italienne: enjeux et potentialités d'une nouvelle pratique narrative
No full textArticle sur l'autofiction italienn
Il reale in finzione. L'ibridazione di fiction e non-fiction nella letteratura contemporanea
No full textQuesto saggio propone un breve excursus della storia dell’ibridazione di fiction e non-fiction in ambito occidentale, a partire dal new journalism e dal nonfiction novel fino all’attuale proliferazione di oggetti narrativi in cui è presente una finzionalizzazione del reale. A partire da alcuni faction contemporanei si illustreranno le diverse intenzioni e i diversi risultati estetici a cui possono giungere i tentativi di ibridare la fiction con il reportage giornalistico, il racconto di un caso di cronaca o di un pezzo di Storia, la biografia e il diario. Nelle forme sempre specifiche in cui ogni testo pensa e mette in scena il reale è spesso presente la convinzione che una verità ulteriore, più “vera”, si dia attraverso la menzogna letteraria, ovvero la fiction. This paper provides a brief account of the history of hybridization between fiction and non-fiction within Western literature, from the origins – the new journalism and the non-fiction novel – to the contemporary hypertrofia of “narrative objects” in which we can trace a process of fictionalization. Starting from contemporary factions we will illustrate the different intentions and the different aesthetic results of the attempts to hybridize fiction with journalistic reportage, true crime report, narrative history, diary or biography. Although each text thinks and depicts reality in a very specific form, it will clearly emerge that all factions share the belief that narrative fiction might be used as a key to achieve a more authentic truth.</p
The Village
No full textNel 1914, in un villaggio del Derbyshire, in Inghilterra, accade un evento straordinario: per la prima volta nella storia un autobus si ferma nel paesino portando una ragazza forestiera. Gli occhi del dodicenne Bert catturano quest'immagine e ne sono segnati per sempre; quasi cento anni dopo l'anziano Bert fa di questo ricordo il principio del suo scavo memoriale.
The Village è la risposta britannica ad Heimat e, come la serie di Reitz, ambisce a raccontare la storia politica e sociale del XX secolo inglese, ma anche europeo, attraverso la storia di persone comuni. Con uno sguardo corale e dettagliato i dodici episodi finora andati in onda ci fanno immergere nelle vite quotidiane di Bert Middleton, della sua famiglia e di tutto gli abitanti del villaggio. La fame, la guerra e la lotta dei soggetti marginali – contadini, operai, donne – sono il centro di una narrazione intensa e dai toni tragici e commoventi
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