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Riccardo Castellana, "Finzioni biografiche. Teoria e storia di un genere ibrido"
Full text linkReview of Riccardo Castellana, Finzioni biografiche. Teoria e storia di un genere ibrido, Carocci, 2019.Review of Riccardo Castellana, Finzioni biografiche. Teoria e storia di un genere ibrido, Carocci, 2019.Recensione di Riccardo Castellana, Finzioni biografiche. Teoria e storia di un genere ibrido, Carocci, 2019
«Quello che avviene nella storia è cosa da non credersi». La biofiction umoristica di Achille Campanile
No full textPalamede tuttologo, Socrate «tramortito» dalle sue stesse convinzioni, Dante gastronomo alla ribalta: sono solo alcuni degli uomini illustri che Achille Campanile sceglie per costruire un repertorio di vite in cui i fatti della biografia si contaminano con i modi della finzione narrativa. A partire dalle fonti citate, «storie naturali», enciclopedie, ma anche pseudo testimonianze dirette e fantomatici documenti, il gioco realtà-immaginazione si riversa sui casi di questi personaggi, storici, di cui nessuno mette in dubbio l’esistenza, e tuttavia deformati dall’inventiva dissacratoria dell’autore. Anzi, Campanile attiva un processo in-formante, che prima riduce la sostanza storica di Alessandro Magno o Catone a dettagli fulminei, «particelle» per usare un termine caro a Debenedetti, e poi la ricompone imprimendo ai suoi esemplari umani una matrice universale, condivisibile in ogni tempo. Persino il linguaggio attinge dal concreto della quotidianità, con frasi fatte e tautologie, ma scarta subito dopo nella regione astratta del paradosso, alimentando quel binomio finzione-realtà che colloca le "Vite degli uomini illustri" nel genere ibrido, qui peculiarmente umoristico, della biofiction.Palamedes the know-it-all, Socrates stunned by his own convictions, Dante the gastronome in the limelight: these are just some of the illustrious men that Achille Campanile chooses to build a repertoire of lives in which the facts of the biography are contaminated with the methods of narrative fiction. Starting from the sources cited, «natural histories», encyclopedias, but also pseudo direct testimonies and phantom documents, the game of reality-imagination spills over onto the cases of these characters, historical, whose existence no one doubts, and yet deformed by the author’s desecrating inventiveness. Indeed, Campanile activates an in-forming process, which first reduces the historical substance of Alessandro Magno or Catone to lightning-fast details, «particles» to use a term dear to Debenedetti, and then recomposes it by impressing on his human specimens a universal matrix, shareable at all times. Even the language draws from the concreteness of everyday life, with set phrases and tautologies, but immediately afterwards veers into the abstract region of paradox, fueling that fiction-reality binomial that places "Vite degli uomini illustri" in the hybrid genre, here peculiarly humorous, of biofiction
Dai fatti finzionali alle finzioni fattuali: due (opposti?) modelli di lettura
No full textAlcuni aspetti della narrativa italiana contemporanea sono indagati alla luce del rapporto tra racconto finzionale e racconto "documentario". Nella tradizione critica italiana dagli anni Sessanta in poi è diffusa l'idea che la letteratura narrativa sia tenuta a mentire, quasi che l'invenzione (cioè la finzione) e la menzogna coincidano. Tutto ciò provoca ricadute nell'ambito in particolare dell'autofiction, le cui caratteristiche in Italia tendono a essere ricondotte al dominio del falso (e non del finto, o fittizio). Al contrario, è lecito teorizzare che il racconto "di testimonianza", anche autofinzionale, possa costituire un modello narrativo dotato di una particolare ed efficace moralità – come tale portatrice di verità
The Figure of the Limit: Metalepsis
No full textIn 1972, Gérard Genette introduced in narratology the figure of metalepsis, that is «any intrusion by the extradiegetic narrator or narratee into the diegetic universe (or by diegetic characters into a metadiegetic universe, etc.), or the inverse». In other words, metalepsis is a transgression of narrative levels, a perturbation of hierarchy that raises the question of the porosity of boundaries between diegetic and metadiegetic, author and reader, fact and fiction.
In my presentation, I will show how this phenomenon is ubiquitous nowadays, and how it is settled both in highbrow and lowbrow cultural representations across various media.
Furthermore, I wish I can discuss the role of metalepsis in poetics: in my opinion, it is possible to relate this device with the history of the novel. In XVIII and XIX centuries authorial narrators made extensive use of rhetoric metalepsis for humoristic purposes (such as playing with the story-time and the discourse-time) or to exhibit their authority (through the manipulation of different threads of the narration). With Naturalism and Modernism metalepsis disappeared, according to the poetic of impersonality: authors stopped being intrusive and eclipsed behind their characters. The golden era of the figure came in the temper of Postmodernism, where ontological metalepsis flourished and the public got used to author and reader literary entering the fiction or characters exiting from it and chitchatting with their creators
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
Variations on the Author
Full text link“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
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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