Search

This paper, which is part of the field of studies on Roman dialectal and regional phraseology, analyzes the idiomatic expression tre ppigne e 'na tenaja and its variant tre ppinze e 'na tenaja. This phraseological unit is documented in the 19th century: it is found in a roman poem of G.G. Belli (L'arma de Papa Grigorio, 1836). The aim is to reconstruct the history of this phraseologism and relate it to other expressions of the same semantic area. [ABSTRACT FROM AUTHOR]

The paper focuses on the contribution of the lexicon of material culture of seafaring origin in the irradiation of the idiomatic language in Italian. After a basic overview of some tools of the sea (hook, anchor, net, oars) from which very common figurative expressions stem, the paper deals with abboccare all'amo, from which interesting historical-etymological features with many semantic implications appear. The investigation shows the lexical and semantic evolution that characterises the passage from material culture word of the seafaring field (concrete sense) to figurative language, with a special focus also on the semantics of verbs frequently used not only in the idiom under investigation (abboccare all'amo), but also in other idiomatic expressions of Italian. By comparing the earliest occurrences of phraseological uses related to amo in lexicographic repertories, such as TLIO and GRADIT, but also in sectorial dictionaries on idioms, some interesting diatopic and diachronic information on lexical and synonymic variants occurs. [ABSTRACT FROM AUTHOR]

«Why create a work when it is so beautiful to just dream about it?». Pasolini's Decameron ends with this question; and 'dream' is the keyword that summarizes the meaning of the artistic-cultural operation carried out by the first act of the Trilogy of Life. Among the ancient Italian phrases recorded in Francesco Serdonati's paremiographic collection we find «A dream: A vain thing. Somnium». In Pasolini's Decameron the dream is an expression of the poetics of the unfinished, in some respects connectable to the history - sometimes very ancient - of the idiomatic components of current (and recurring) language: fragments of an interminable «force of the Past» of which the poetdirector felt part and expression. Starting from the screenplay, I intend to propose a summary of Decameron's sentences, accompanied by reflections on their typology and reuse techniques, always keeping in mind the comparison, on the one hand, with Boccaccio's model and, on the other, with Serdonati's collection. What emerges leads to new considerations on Pasolini's style, on his relationship with literary models, as well as with erudite paremiography, with the history of the Italian language, with popular tradition and with dialects. There will be no shortage of comparisons with the transcription of the film's speech. [ABSTRACT FROM AUTHOR]