1,720,972 research outputs found
Scrivere e descrivere: La pervasività dell’ekphrasis nella poesia di Edoardo Sanguineti
No full textThis paper aims to explore the all-pervasiveness of the technique of ekphrasis within Edoardo Sanguineti’s poetry, from Laborintus (1956) to Varie ed eventuali (2010). The study is conducted looking at six exemplary texts (Laborintus 3 and 7, Reisebilder 14, Cataletto 1, Corollario 43, Mantova 15) belonging to different periods of Sanguineti’s literary career and comparing them with the visual objects that they describe. In this way, the study tries to show the usage of ekphrasis not only as a simple rhetorical device but also as a primary poetical tool. Finally, the article drafts some future ways for further investigation, such as the cataloguing of all the ekphrasises hidden in Edoardo Sanguineti’s poetry, the application of the theoretical results achieved by the international visual studies, and the possibility of connecting Sanguineti’s ekphrasis with the ones used by other Italian contemporary poets
La poesia italiana del Novecento e la funzione d’Annunzio: ipotesi di lavoro
No full textGabriele d’Annunzio was frequently excluded from the generative matrix of the Italian poetical twentieth century. It is time to restore the truth free of any ideological biases. In order to do that, it is necessary to retrace the studies conducted by d’Annunzio’s successors who tried to explore different ways to reckon with his work. Studies of that kind would make it possible to hypothesise a methodology to use for a systematic investigation aimed at revealing the entity of the qualitative and quantitative impact d’Annunzio’s work has had on much of the Italian poetry. It would subsequently be possible to draft a rough analytic route to use as starting point for more substantial future investigations
Il dispositivo ecfrastico pasoliniano. La gestione dello sguardo in «Picasso» e negli «Affreschi di Piero a Arezzo»
Full text linkIl caso Mauritshuis. Ekphrasis e soggetto nella poesia neofigurativa di Edoardo Sanguineti
No full textThe typical ekphrasis of Edoardo Sanguineti’s neo-figurative poetry is established for the first time in Mauritshuis (1986), making an in-depth study possible. This technique covers a prominent position in poetry production, not only from an expressive point of view but also as a poetical issue. In the neo-figurative macro-phase the ekphrasisis used as a pretext to create a hybrid subject, in which the identity of Sanguineti’s literary double interacts with the identity of a character painted in a picture. The result is a subject that offers the reader an interpretive theatricalization of the image in which he is represented. The meaningful estrangement contained in these poems is increased by the disjunction between text and image. As soon as the connection is established through the aid of the ekphrastic signs, the reader is allowed in the ludic moment of the verbal-visual text’s fruition
Recensione di Roberta Iadevaia, Per una storia della letteratura elettronica italiana (Mimesis, 2021)
Full text linkReview of Roberta Iadevaia, Per una storia della letteratura elettronica italiana (Mimesis, 2021).Recensione di Roberta Iadevaia, Per una storia della letteratura elettronica italiana (Mimesis, 2021)
Il Dispositivo ecfrastico e la sua temporalità
Full text linkIn questo lavoro si ripercorrono alcune possibili interpretazioni dell’ekphrasis, da quelle classiche a quelle più innovative. In primo luogo, si cerca di superare definizioni che limitano la portata delle tecniche ecfrastiche, per rivolgersi verso prospettive più ampie che inglobino funzioni finora trascurate. Per andare verso questa direzione si separano i due momenti dell’operazione ecfrastica – l’ekphrasis-come-processo e l’ekphrasis-come-testo – e si leggono in chiave dispositiva. Successivamente si approfondisce la temporalità del dispositivo testuale ecfrastico, rileggendolo come forma di integrazione della simultaneità spaziale tipica dell’immagine e della processualità consequenziale tipica del segno verbale. Infine, si osservano da vicino due realizzazioni ecfrastiche di Sanguineti – Reisebilder 14 e Cose 2 – che presentano un’articolazione temporale degna di nota, in cui visualità e verbalità si confrontano in maniera tale che se da un lato vengono sollecitati gli elementi processuali latenti nella prevalente simultaneità dell’immagine, dall’altro alcune porzioni di simultaneità caratterizzante dell’immagine vengono integrate nella prevalente processualità del testo ecfrastico
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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