1,425 research outputs found
Alexandre Dumas figlio, La signora delle Camelie. Traduzione, nota al testo, introduzione e postfazione di Marisa Verna. Introduzione e postfazione tradotti in lingua inglese
No full textIl dramma a tesi di Dumas figlio si propone come un teatro “intelligente”, di riflessione morale, in più o meno aperta polemica con il vaudeville e il puro divertissement.
Il volume contiene, oltre a una nuova traduzione del dramma e della prefazione di Dumas fils (edita a scopi didattici nel 2008 presso EduCatt), un capitolo introduttivo nel quale viene indagata la forza mitogena e la canonicità del testo per la cultura europea ed extraeuropea. Il saggio introduttivo si propone di mettere in luce l’intrinseca dualità del testo stesso, dalla quale si è generato appunto il mito: delle due strutture drammatiche presenti nella pièce (quella neoromantica e quella borghese), è la prima, contro ogni previsione dello stesso Dumas figlio a prevalere nei decenni e poi nel secolo successivo alla sua creazione.
Nel saggio finale si propone invece l’analisi di due rappresentazioni considerate cruciali per la storia drammaturgica del testo (poiché la storia scenica di questo dramma è letteralmente immensa, si propone l’analisi di una rappresentazione coeva, e di una novecentesca), in Francia e in Italia. Segue un brevissimo excursus della fortuna scenica della pièce nel mondo, e una bibliografia selettiva.The Lady of the Camellias, by Alexandre Dumas fils
Marisa Verna ed., Edizioni ETS, Pisa 2011
The drame à thèse by Dumas fils appears as a form of intelligent theatre, proposing moral reflections in at times explicit opposition against the vaudeville and the pure divertissement.
Besides a new translation of the drama and of the preface by Dumas fils (previously published by EduCatt in 2008 for teaching purposes), the volume contains an introductory chapter which investigates the mythopoeic force and the canonicity of the text within the European and non-European cultures. The introductory essay aims at highlighting the intrinsic duality of the text which has originated the myth: of the two dramatic structures which make up the pièce the neo-romantic and the bourgeois one the former prevailed in the years and centuries following its creation, contrary even to any prediction of the author himself. The concluding essay analyzes two performances, in France and in Italy, acknowledged as crucial for the dramaturgical history of the text (since the staging history of this drama is immense, the analysis concerns one coeval performance and one from the 20th century). The essay is followed by a brief digression on the international staging success of the pièce and by a selected bibliography
Proust et l art de la langue. La synonymie comme idolâtrie linguistique
No full textProust and the art of language. Synonymy as linguistic idolatry. In: SERGIO CIGADA E MARISA VERNA A CURA DI. in La Sinonimia tra langue e parole nei codici italiano e francese,. p. 231-254, MILANO: Vita e Pensiero
The aim of this article is to analyze the impossibility of conceiving of the idea itself of synonymy within the proustian understanding of language and his esthetics.
Since his first theoretical reflections on literary language, Proust considered meaning as the result of a complex dynamics, never established once and for all. In his notes to his translations of John Ruskin, the future author of the Recherche reproaches the English esthetician of looking for linguistic meaning where it cannot be found: in the dictionaries or in the history of words. In this attitude Proust sees the same sin of idolatry that Ruskin shares with Montesquiou and that leads to a confusion between art and life, meaning and words.
This conception of language can be found in the Recherche at different levels. Two of these will be analyzed in this article: the language of the characters and the formation of metaphor. Within the language of the characters it is possible to observe various clue synonyms , or even implicit synonyms , marking meaning shifts, where the similarity of meaning at the level of langue is even more revealing of psychological truths that language ends up always exposing. Within this indirect language studied by Genette, it is clear that there is not just one synonym and that it could not be simply replaced by its equivalent in the dictionary without a serious loss of meaning.
The case of metaphor is even clearer to establish the impossibility of synonymy within the proustian understanding of literary language. Two examples will be presented of sememe metaphors , in which the narrator of the Recherche develops all the semantic directions of the linguistic sign by the metaphorisation of the whole sememe. The word itself is at the origin of a process of metamorphosis of reality of which the metaphor is the textual result. It is from the word, as a total sign and as it lies within the artist s conscience, that all comparisons derive.
Therefore the metaphor does not realize a process of semantic equivalence, it is not a synonym of a word or an expression because it is born from an evocation, from the resounding of a memory that words awake within the soul of the person who produces it. Indeed the proustian style reflects on reality a network of questions where all the potentialities of a meaning are activated. Under these conditions, for a writer to believe in the existence of synonymy is like treason against his duty as an artist, which is not to say trois fois à peu près la même chose , but to find a truth able to give way to that journey through the self that every reader is supposed to begin once the book is fnished.Dès ses premières réflexions théoriques sur la langue littéraire, Proust considère en effet le sens comme le résultat d’une dynamique complexe et jamais établie une fois pour toutes. Dans les notes à ses traductions de John Ruskin, le futur auteur de la Recherche reproche à l’esthéticien anglais de chercher le sens là où il n’est pas : dans les dictionnaires, ou dans l’histoire des mots. Dans cette attitude il y a pour Proust ce péché d’idolâtrie que Ruskin partage avec Montesquiou, et qui pousse à confondre l’art et la vie, le sens et les mots.
Cette conception du langage se retrouve dans la Recherche à plusieurs niveaux ; nous allons en analyser deux : la langue des personnages et la formation de la métaphore. Dans la langue des personnages sont relevables de nombreux ‘synonymes indices’, ou même des synonymes implicites, qui marquent un glissement du sens, où l’analogie de signifié au niveau langue n’en est que plus révélatrice de vérités psychologiques que le langage finit toujours par démasquer. Dans ce « langage indirect » étudié par Genette le synonyme n’en est évidemment pas un, et ne pourrait, sans grave perte de sens, être remplacé par son équivalent du dictionnaire.
Le cas de la métaphore est plus décisif pour une définition de l’impossibilité de la synonymie dans la conception proustienne de la langue littéraire. Nous avons choisi de présenter deux exemples de ‘métaphores sémème’, dans lesquelles le narrateur de la Recherche développe toutes les directions sémantiques du signe langue, en métaphorisant ainsi le sémème entier. Le mot est lui-même source du procès de métamorphose du réel dont la métaphore est le résultat textuel, et c’est à partir du mot, en tant que signe total, tel qu’il est déposé dans la conscience de l’artiste, que se départent les comparaisons.
La métaphore ne marque partant pas un procédé d’équivalence sémantique, elle n’est pas synonyme d’un mot ou d’une expression, car elle naît d’une évocation, d’une résonance mémorielle que les mots déclenchent dans l’esprit de celui qui l’énonce. L’écriture proustienne lance en effet sur le réel « des réseaux d'interrogation », où toutes les virtualités du sens sont actives. Dans ces conditions, croire dans l’existence des synonymes est pour un écrivain une trahison de son devoir d’artiste, qui est de ne pas dire « trois fois à peu près la même chose », mais de trouver une vérité capable de donner lieu au voyage dans soi-même que chaque lecteur est censé commencer, une fois le livre fini
Marisa Volpi. Legami a doppio filo fra pittura, scrittura, lettura
No full textIl contributo presenta la figura della critica e storica dell'arte Marisa Volpi (1928-2015), personalità di spicco della critica d'arte degli anni Sessanta e Settanta, nonché scrittrice (premio Viareggio 1986) e autrice di racconti ispirati alle vite d'artista. Con alcuni esempi, viene messo in luce lo stretto legame fra l'attività di ricerca storica, l'elaborazione critica e la scrittura di Marisa Volpi.The contribute focuses on the intellectual figure of Marisa Volpi (1928-2015): art historian, professor, art critic, curator and writer (Viareggio Prix 1986). The author of this contribute runs the website www.marisavolpi.it, with the patronage of the Department of Art History and Performing media at Sapienza University, where Marisa Volpi's archive is situated
Moral Economies of Food in Cuba
Full text linkThe way people produce, exchange and consume food in Cuba is underwritten by cultural and political economic rules as well as economic self-interest. These "rules" are not just formed from the top down, but also from the bottom up, though, as I will explain in this paper, norms established by what I call the national moral economy often give cultural form to local practices of food provisioning. Despite extreme scarcities in the early 1990s and continuing difficulties obtaining food in the present dual economy, Cubans often frame farming and household provisioning in terms of the national moral economy. The latter is, in turn, structured by values that have developed in Cuba over time such as asceticism and hard work
Marisa Madieri, Jan Morris e Irena Žerjal
No full textThis paper analyses the ways in which the town of Trieste and its surrounding area are portrayed in literary
works in the period following World War II. To this end, we have adopted a comparative approach in analysing
three novels about the town of Trieste written by Irena Žerjal, Marisa Madieri and Jan Morris, belonging to different
cultural and language traditions. Our analysis applied an interdisciplinary approachgeocriticism and literary imagology as well as the concepts of traumatic collective memory and postmemory. From a geocritical perspective,
we have interpreted the literarisation of the town of Trieste from three different perspectives: the perspective of a
Slovene author (Irena Žerjal)the Western-European perspective (Jan Morris)and the exile’s perspective (Marisa
Madieri). All three authors adopt a similar approach in their literary representations of the town of Trieste, namely
going back in time, which allows them to shift the action from the present to the past, i.e. to Trieste as they knew it
in their youth. In doing so, each author focuses on a different part of town. In those rare occurrences where action
is set in the same places, each author ascribes a different meaning to the location. While the authors acknowledge
the presence of the Other in Trieste, this has a negligible impact on the novel’s course of action
Wess-Zumino model with exact supersymmetry on the lattice
No full textA lattice formulation of the four dimensional Wess-Zumino model that uses
Ginsparg-Wilson fermions and keeps exact supersymmetry is presented. The
supersymmetry transformation that leaves invariant the action at finite lattice spacing is
determined by performing an iterative procedure in the coupling constant. The closure of
the algebra, generated by this transformation is also showed
Exact supersymmetry on the lattice: the Wess-Zumino model
No full textIt is shown that the lattice Wess-Zumino model written in terms of Ginsparg-
Wilson fermions is invariant under a generalized supersymmetry transformation which is
determined by an iterative procedure in the coupling constant. This transformation is nonlinear
in the scalar fields and depends on the superpotential parameters. The implications
of this lattice invariance are discussed
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