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The Italian Gothic and Fantastic:An Inquiry into the Notions of Literary and Cultural Traditions (1869-1997)
No full textThe Italian Gothic and Fantastic:An Inquiry into the Notions of Literary and Cultural Traditions (1869-1997)
No full textAspetti stilistici dell'uso del plurilinguismo nella narrativa contemporanea : l'interazione tra italiano, dialetti e lingue straniere nell'opera di Luigi Meneghello e Andrea Camilleri
No full textEThOS - Electronic Theses Online ServiceGBUnited Kingdo
The Italian Gothic and Fantastic:Encounters and Re-writings of Narrative Traditions
No full textThis volume investigates modes of the reception, rewriting, and appropriation of the gothic and the fantastic in Italy in the late nineteenth century and the second half of the twentieth century. It articulates the ways in which Italian writers both undermined the narrative spaces created by realist narration and introduced agnoseological dimension centered on a disempowered and disjointed subjectivity. It argues that both in their breaking of nineteenth- and twentieth-century aesthetic and literary paradigms and in their radical questioning of personal, collective, ideological, and literary identities, the gothic and the fantastic become forces of subversion. The identity resulting from this hermeneutic engagement is defined not by coincidence, but by difference: both collective and subjective identities must activate a process of negotiation that has to assimilate the Other in the spaces between the real and the unreal. Meanwhile, by assimilating the Other into our own modes of representation of reality and imagination, twentieth century female writers of the fantastic show how alternative identities can be shaped and social constituencies can be challenged
The Italian Gothic and Fantastic:Encounters and Re-writings of Narrative Traditions
No full textThis volume investigates modes of the reception, rewriting, and appropriation of the gothic and the fantastic in Italy in the late nineteenth century and the second half of the twentieth century. It articulates the ways in which Italian writers both undermined the narrative spaces created by realist narration and introduced agnoseological dimension centered on a disempowered and disjointed subjectivity. It argues that both in their breaking of nineteenth- and twentieth-century aesthetic and literary paradigms and in their radical questioning of personal, collective, ideological, and literary identities, the gothic and the fantastic become forces of subversion. The identity resulting from this hermeneutic engagement is defined not by coincidence, but by difference: both collective and subjective identities must activate a process of negotiation that has to assimilate the Other in the spaces between the real and the unreal. Meanwhile, by assimilating the Other into our own modes of representation of reality and imagination, twentieth century female writers of the fantastic show how alternative identities can be shaped and social constituencies can be challenged
Il racconto come militanza: sulle radici femministe dell’opera di Laura Pariani
Full text linkIl saggio individua nell’impegno nei collettivi femministi milanesi dei primi anni Settanta un momento fondante per la definizione dell’ideologia e della poetica di Laura Pariani. L’attenzione è focalizzata sulle opere giovanili della scrittrice — due libri di fumetti femministi, che per la prima volta sono fatti oggetto di analisi — delle quali si evidenziano gli elementi di continuità con la narrativa degli anni Novanta-Duemila: la preferenza per le storie delle donne, lo sguardo al femminile, il racconto come momento di condivisione di esperienze e denuncia sociale, il plurilinguismo che scardina dall’interno la lingua ufficiale accogliendo le voci degli oppressi. Nell’intervista riportata in appendice, la scrittrice ricorda le esperienze personali, politiche e artistiche nella Milano post-sessantottina, le istanze di rinnovamento sociale dell’epoca e il loro lascito, e commenta alcune tavole tratte dai fumetti giovanili.The chapter analyses Laura Pariani’s involvement in the women’s movement in Milan, in the early 1970s, as a key moment for the definition of her ideology and poetics as a writer, from the 1990s onwards. The focus is on the writer’s early works (two feminist comic books, presented and analysed here for the first time), and on the elements of continuity between them and the major works of fiction: the preference for the stories of women; the gendered gaze; storytelling as a moment for sharing individual experiences and as a form of social denunciation; the creation of a multilingual Italian prose, which includes the voices of the oppressed, thus disrupting from within the language of power. In the appendix, the writer comments on some plates taken from her comic books; she recalls her personal, political, and artistic experiences in post-1968 Milan, the instances of social renewal of the time, and their legacy nowadays
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
Chapter Luigi Meneghello recensore in inglese per il «Times Literary Supplement»
No full textThis article discusses the transnational and translingual dimension of Luigi Meneghello’s cultural project, by focusing on his reviews of Italian books for the «Times Literary Supplement» (1977-1989, 1998-1999). The analysis emphasises how Meneghello’s insights as a reviewer can shed new light on his interests as a reader and as a writer. Among these, his pondering on the modernisation of the novel stands out. There is special regard for the renewal of narrative and linguistic structures and for the representation of Italian society in the second half of the Twentieth century, especially in the articles devoted to Gadda, Arbasino, Manganelli, and to the English translation of Calvino’s Sentiero dei nidi di ragno
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
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