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Nowadays, there are not comprehensive studies on the idioms used by Pier Paolo Pasolini in his vast literary and non-fiction production. There is only one essay, although rich in data and starting points, on a proverb cited in an article published in the weekly «Il mondo» in 1975 (Rondinelli 2017). This paper, therefore, essentially has three objectives: 1) to trace the idioms used by the Emilian writer, also referring to other interesting phraseology for the purposes of the research; 2) to provide information on the identified idioms, retracing the most significant elements of their history; 3) to identify the clues that explain their use in Pasolini. [ABSTRACT FROM AUTHOR]

Copyright of Aurora: Papeles del Seminario María Zambrano is the property of Seminario Maria Zambrano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Index scriptorum listed at the end of volume VII of the Grammatici Latini edited by Heinrich Keil (1855–1880) includes four quotations of Cassius Severus, a Roman rhetor who lived during Augustus’ and Tiberius’ reigns. Not all these four fragments (two of which are quoted two times, by two different authors) have a place in Cassius Severus’ modern editions. For this reason, in this paper, even if we cannot always conclude that we are actually dealing with Cassius Severus’ fragments, we will offer an analysis of these previously rather neglected quotations. [ABSTRACT FROM AUTHOR]

This paper provides the edition of a previously unpublished ‘favola pastorale’, the Inamoramento di Floro by Pietro da Noceto, printed in Venice in 1510 by Alessandro de’ Bindoni. This paper examines a few problems concerning the identification of the author of the Inamoramento and of his contemporaries mentioned in the print. The text is accompanied by a linguistic note, a note to the text and a critical apparatus. [ABSTRACT FROM AUTHOR]

The aim of this paper is drawing attention to a passage of the Ethiopian Stories by Heliodorus of Emesa (9,9,3) on the divinization of the Nile borrowed from Life of Moses (2,195) by Philo of Alexandria. This textual relationship, well known to Philo's scholars, has so far not been considered instead by most Heliodorus' scholars. Other possible intertextual references (lexical parallels, stylisations and analogies), noticed in this paper, point to the work by Philon as deliberately exploited inspiration for some passages of Heliodorus' novel. All this is of greater importance for the Ethiopian novel and his author. [ABSTRACT FROM AUTHOR]

The aim of this paper is to place the first period of Leonardo Sciascia's literary activity, between the 1950s and the 1960s, within a unitary framework which finds one of its main features in the dialogue established with hispanidad, with contemporary history and with Hispanic literary culture. Through the references to George Orwell's and Federico García Lorca's literary works, to Unamuno's thought and Vittorio Bodini's activity as translator and cultural mediator between Italy and Spain, a Hispanic constellation of texts and suggestions takes shape, nourishing both the civil and the literary profile of the Sicilian writer. [ABSTRACT FROM AUTHOR]

This paper will examine the linguistic component and innovations of the Nineteenth-century play Ψευτοξενοδόχος (The Fake Innkeeper) by a certain K. Π., in relation to some linguistic satire precedents such as Iakovos Rizos Nerulòs, author of the Korakistiká and Dimitrios K. Vyzantios, author of the Babylonia. Furthermore, the identification of the author with the famous historian Konstantinos Paparrigopulos is proposed. [ABSTRACT FROM AUTHOR]

The paper relates Elias's thought to Mead's, starting from the embodied dimension of emotions. The approach of the two authors to emotions is affected by a conception of society as deeply intertwined with biological and somatic aspects. Rediscovering and enhancing these aspects is configured as a radical challenge to the disciplinary barriers with which such topics are traditionally addressed. This allows to relate the thought of the two authors within a theoretical framework that can shed light on the embodied aspects of emotional action. [ABSTRACT FROM AUTHOR]

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper deals with the publishing history in the post-Soviet era of three very prominent works in Gulag literature in Italian translation – Life and Fate by Vasilij Grossman, Kolyma Tales by Varlam Šalamov and The Gulag Archipelago by Aleksandr Solženicyn – in order to reconstruct their Italian reception in the years 1991-2022. The controversies surrounding the publication of these works in Italy are also discussed, and it is noted how the Italian press has paid particular attention to them, with major Italian writers reviewing the editions and contributing to their Italian reception. Finally, the lack of critical reflection by Italian Russianists on Gulag literature is discussed. [ABSTRACT FROM AUTHOR]

The paper analyses the reception of Seneca’s works and biography in 13th- and 14th-century Padua, focusing especially on the role played by Lovato Lovati and Albertino Mussato. It argues that Mussato was pivotal in the reception of Seneca as a tragic poet. Both Mussato’s Senece vita et mores and Ecerinis emphasised Seneca’s worth as an author of tragedies, starting a new rise of the fortune of Seneca’s plays. [ABSTRACT FROM AUTHOR]

Copyright of TECHNE: Journal of Technology for Architecture & Environment is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper I discuss the relationship between Cornelius Castoriadis and Ancient Greece by focusing on the meaning of tradition and on the possibility to produce new philosophical and political reflections through it. I analyze the general features of his reading and I argue that his interest also develops in many texts and forms. I distinguish different dimensions of this relationship, which does not concern only the analysis of Greek society but also that of philosophers and their works. I clarify that Castoriadis turns to ancient authors' texts in order to philosophize through them and to develop his own thinking. [ABSTRACT FROM AUTHOR]

Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Filología Italiana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article examines Ingo Schulze's novel Die rechtschaffenen Mörder (2020) in the light of the considerations on estrangement expressed by the author in his speech for the Brecht Prize in 2013. This paper highlights how the novel is about two types of 'estrangements': the first, along Brecht's lines, is at the service of committed literature, capable of representing an "alternative project" for society; the second, on the other hand, is functional to the author's self-reflective moment and characteristic of the postmodern novel. The analysis of the novel argues that 'estrangement', from being a tool of political and social commitment aimed at demystifying power relations, ultimately becomes a merely formal device that preserves the status quo in the market of artistic forms produced by the "mass-democratic postmodernity" (Kondylis) in which Schulze operates, thus counteracting Brecht's and perhaps even Schulze's own initial aim. [ABSTRACT FROM AUTHOR]

The aim of this paper is to reconstruct the philosophical frame of Rosaria Caldarone's work La filosofia in fiamme. Saggio su Pascal in order to interpret it in the light of the authors who represent the Wegmarken of her work. Starting from this reading, the main issue around which my questions revolve is: what new figure of reason can be reborn from the flames of philosophy - flames that, like the biblical burning bush, burn but do not consume the thought? [ABSTRACT FROM AUTHOR]

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper provides a reflection about anonymity and authorship in folk poetry in general and in the Greek folk poetry in particular. Anonymity means absence of an author with historical entity and it is a characteristic feature of folk poetry. On the other hand, every text has an author, but the author of folk poetry has a different relationship with his work from the literary author; he is constrained in his task by the traditionality of themes and form, wich are related to the extraliterary fonction of folk poetry. Four interesting cases of Greek folk poetry are analised which have been attributed by the tradition to historically existing authors, and the reasons of such attribution are investigated. [ABSTRACT FROM AUTHOR]

The paper contains the talks given by the authors on the occasion of the presentation of Domenico Conte's book Viandante nel Novecento. Thomas Mann e la storia (Roma, Edizioni di Storia e Letteratura, 2019) hosted by Goethe-Institut in Naples on February 24, 2021. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Filología Italiana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

My focus in this paper is the epic Albanian poem "Lahuta e Malcís" (Gjergj Fishta, 1937) and its translation into German, Italian and English. I will analyse translations by three authors: Maximilian Lambertz (1958), Ernest Koliqi (1973) and Robert Elsie (2005). As a result, I will show how these three translations fail to fully convey certain aspects of Albanian culture to the German, Italian and English readers. In theoretical terms, I will briefly address the issue of how the translator should best preserve not only the meaning of the original text, but also the style in which the work is written. [ABSTRACT FROM AUTHOR]

Copyright of Phainomena is the property of Phenomenological Society of Ljubljana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper I seek to respond to some of the remarks raised by the authors invited by the journal Etica & Politica / Ethics & Politics to discuss my book on philosophy of birth Nascere. Una fenomenologia dell'esistenza (Carocci, Roma 2020). In the first part I discuss some comments on the methodological approach. Then I focus on objections by my interlocutors that allow to clarify and to formulate better some main theoretical points of my proposal. Finally, I deepen the distinction between the categories of natality and nativity. [ABSTRACT FROM AUTHOR]

Starting from a brief summary of the history of Klostermann' s edition, the paper focuses on the relationship between Origen' s Commentary on Matthew and the analogue commentary, characterized by a high level of compilation, attributed to the so-called Peter of Laodicea. Beyond a recapitulation of the attempts of identification of this mysterious author, the paper offers specimina of comparisons between correspondent sections of Origen' s and Peter' s texts, in order to highlight similarities and differences, and thus to discuss if Peter' s text can be rightly taken into consideration as a useful witness in a new edition of Origen' s text. [ABSTRACT FROM AUTHOR]

The comedy Gustos y disgustos son no más que imaginación was written by Pedro Calderón de la Barca in the Thirties and it was performed at court in 1680 on the occasion of the wedding of king Charles II with the French Marie Louise d'Orléans, Louis XIV's niece, just a year before the death of the author. This paper explores, from a diachronic perspective, the different meanings and aims conveyed by the various vital stages of this Calderonian comedy -- writing, performance and publication -- with a specific focus on its 1680 performance at court. [ABSTRACT FROM AUTHOR]

Copyright of L'Idomeneo is the property of Salento University Publishing, Dipartimento di Beni Culturali and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Filología Italiana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nuova Rivista di Letteratura Italiana is the property of Edizioni ETS s.r.l. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper is the first study of Orengo's onomastics, a subject hitherto neglected despite the growing critical interest for this author, and focuses on La curva del Latte; the analysis of names and nicknames is centered on the choices, always carefully calibrated, often ironic and out of the ordinary, as are many curious characters in the novel. Reference to the memorial album Terre blu, contemporary with the novel, and several collected testimonies, enable the author to distinguish between real and fictional names and therefore to explore the relationship between reality and fiction. [ABSTRACT FROM AUTHOR]

This paper attempts to single out the changes that occur in onomastic functions when a literary name is translated to the target language. After introducing the main functions outlined by Polish scholars and presenting the specificity of the onomasticon in the fantasy genre, the author describes the main changes that onomastic functions undergo in the Italian version of Sapkowski's fantasy saga: preservation, loss, addition, alteration, accumulation, substitution. [ABSTRACT FROM AUTHOR]

The titles of Giorgio Manganelli's books clearly display a search for unusual linguistic combinations. The reader is often required to make an effort of interpretation. In this paper, the titles are examined, their lexical components analyzed and an interpretation offered in the light of the author's poetics. The tendency to play with linguistic elements is interpreted not only in itself, but as an instrument of knowledge. [ABSTRACT FROM AUTHOR]

This paper examines a still unnoticed telestich in Hor. c. 1.11: stylistic evidence, contextual elements and poetical intentions lead us to believe that the lusus is intentional. Moreover, the wordplay helps to focus on the author's artistry, in order to get a better comprehension of the Augustan poet. [ABSTRACT FROM AUTHOR]

Copyright of Asprenas is the property of Verbum ferens srl. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper deals with the analysis of the works and theories by Paul Otlet and Otto Neurath, focusing on their positions on the visual value attributed to images as a worldwide knowledge-democratization means. In detail, the theories properly defined by the authors and also the existing scientific studies in the literature referring to the visual communication conceived as a resource by which disseminate and achieve knowledge on a wide level will be illustrated. [ABSTRACT FROM AUTHOR]

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines the theatre work of Nina Vladimirovna Sadur (Novosibirsk, October 15th, 1950), Russian writer, playwriter and screenwriter, whose artistic world reflects mythological, folkloric and Christian traditions. The analysis aims to focus, through a general examination, on the mostly recurrent themes also in the light of a re-elaboration of the classics of Russian literature: the evil of living in its various manifestations, the antinomy Good-Evil, the clash between the real and the unreal, the socio-psychological discomfort. [ABSTRACT FROM AUTHOR]

Self-representation of creative process is a common strategy for several samizdat authors, mainly those who approach literary creation from an aesthetic point of view that is very close to the modernist one. These texts are characterized by peculiar features, such as an emphasis on the author himself and his more or less distinct hypostases (the author often becomes the addressee of his own text); by their physicality, bodily nature, evidence of a paper-made, typewritten text; by a focus on underground writers’ community, their interaction, reciprocal role as readers, advisors, co-authors, as well as on the fundamental role of the underground community of readers, which allows to distribute and multiply samizdat texts. [ABSTRACT FROM AUTHOR]

The question investigated in this paper is whether Spengler's Heraclitus is an apollinian or a faustian philospher. By means of a detailed analysis the author tries to show that Spengler describes Heraclitus' philosophical and cosmological view through some concepts (principally taken from energetic physics) which are subsequently used to describe the faustian Kultur in Der Untergang des Abendlandes. In Spengler's Heraklit, Heraclitus appears, therefore, as a faustian «guest» (Gast) in the apollinian Kultur. [ABSTRACT FROM AUTHOR]

Taking a lead from a remark made by Pirandello concerning the name of the character, 'Claudio Cantelmo', in D'Annunzio's Vergini delle rocce, already used by the same author in his Trionfo della morte, this paper focuses on a particular kind of onomastic migration, which consists in using the same name for two (or more) characters in different works by the same author. This phenomenon is found in writers as far apart in time and literary genre as Roberto Bolaño and Giovanni Boccaccio, and is usually seen in the light of a 'holistic' or 'suprasegmental' conception of the onomastic strategy of any given author. [ABSTRACT FROM AUTHOR]

Antonio Delfini (1907-1963), regarded as a minor writer, «unknown» according to his own ironic definition, was the author of prose works, short stories, articles, essays, even of a Manifesto per un partito conservatore e comunista and, not least, of some papers partially published in 1982 by Giovanna Delfini and Natalia Ginzburg under the title of Diari (1927-1961). In such a fragmented, elusive production, proper names play an important role. Pseudonyms, paronomasia, grotesque creations and other kinds of onomastic effects are employed, especially in the diaries, in different and sometimes surprising ways. [ABSTRACT FROM AUTHOR]

In the context of the 'Scapigliatura' movement in the region of Piedmont, the figure of Achille Giovanni Cagna is particularly interesting: a self-taught and enthusiastic writer, he discovered his poetic vein thanks to the fortunate encounter with Giovanni Faldella, after the «worrisome beginnings» reported by Contini (1953). This paper aims at stressing the onomastic relationships in the works of these two authors, highlighting the evolution of their repertoire and the changes in the naming practice. Autograph corrections approved in the subsequent edition of the Bozzetti and the critical thinking documented by the epistolary exchanges, help to assess the progressive abandonment of clichés typical of sentimental literature in favour of a more disenchanted observation of truth. [ABSTRACT FROM AUTHOR]

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Many scholars believe that Polyidus of Selymbria, a very famous author of dithyrambs and "nomoi" of the V-IV century B.C., might have been a playwright too, on the basis of Arist. Poet. 16, 1455a 6-8 and 17, 1455b 8-12. In this paper I try to show that he never wrote tragedies and the work quoted by Aristotle was probably a lyric composition. In addition, Polyidus, allegedly the author of a fictitious letter to Darius, should probably be considered a fictitious person too. [ABSTRACT FROM AUTHOR]

In this paper, I will claim that a plausible account of fictional narration must involve a conceptual distinction among the three following figures: real authors, fictional narrators, fictional authors. Real authors may coincide, albeit rarely, either with fictional narrators or with fictional authors. A fictional narrator, however, can never coincide with a fictional author, for either figure is the 'fictional agent', the contextual factor that contributes to yielding a semantic (truth conditional) content to the fiction-involving sentences that, in their fictional use, either figure narrates. Because of this, however, we need to distinguish between a fictional narrator and a fictional author for reasons that only partially coincide with those that Currie (1990) advocates. We need a fictional author precisely for the very same semantic reasons for which we need a fictional narrator; that is to say, as I hinted at before, in order to account for the fictional truth conditions and fictional truth values that fiction-involving sentences have in their fictional use. We indeed need either a fictional narrator or a fictional author in order to have an 'agent' of the relevant fictional context that enables a fiction-involving sentence, in its fictional use, to fictionally say something, i.e., to have a fictional semantic (truth conditional) content, hence to have also a fictional truth value. Yet we do not need a fictional author for 'epistemic' reasons, which have to do with reliability in narration; pace Currie (1990), just like the fictional narrator, that author must not be omniscient. [ABSTRACT FROM AUTHOR]

The article offers guide for authors on how to present a paper for publication in the journal.

The paper presents the relationship of the poet, writer and translator Zoltán Jékely (1913-1982) with Italy and Italian culture, focusing on his two prolonged stays in Rome. In 1940 and in 1948, Jékely had an opportunity to spend a few months at the Hungarian Academy in Rome. His hitherto unpublished diaries and correspondence, forming part of the legacy, allow us not only to reconstruct the events during those stays but also to assess their influence on him. The paper highlights events to which the author attributed a special, spiritual significance. Throughout his life, and especially while travelling, Jékely was careful to register signals directed at him, events whose importance transcended everyday life, and was personally touched by the hidden beauties of the cities he visited. [ABSTRACT FROM AUTHOR]

The theme of this paper concerns the dedications that Neapolitan authors and publishers of the Seventeenth Century put before their books on the genealogies of noble families, family stories and the feats accomplished by captains in the pay of Spain. Dedications to personalities linked with people and families mentioned in the books represent the way to transfer the qualities of the mentioned subjects to the addressees of those dedications. This fact testifies also a customer relationship, patronage and service between the author/publisher and anyone to whom the book is dedicated, suggesting useful considerations about the conditions of the intellectuals in the ‘600. [ABSTRACT FROM AUTHOR]

A careful study of the two prologues to Origen's collection of texts and of Gregory of Nazianzus' letter to Theodore of Tyana (ep. 115) indicates that the collection was originally an anonymus compilation (συλλογή or ἐκλογή). Gregory writes that the book he gives to Theodore contains «extracts from the φιλοκαλία of Origen». He uses the word φιλοκαλία to refer to the whole of Origen's work in favorable terms, just as Eusebius of Caesarea writes «φιλοκαλία of Irenaeus» (kephalaion H.e. V 26) to designate the entire work of lrenaeus. Basil and Gregory are not the authors of a collection called Φιλοκαλία, but the readers of an anonymous compilation of texts which Gregory presents as extracts from «the work of great beauty (φιλοκαλία) of Origen». The paper also examines the origin, dating, place of composition, structure, and aims of this anonymous compilation as well as the reasons for its attribution to the two Cappadocians. [ABSTRACT FROM AUTHOR]